1 00:00:02,720 --> 00:00:05,760 Speaker 1: Welcome fans of movie history and true crime to Hollywood Land, 2 00:00:05,920 --> 00:00:08,520 Speaker 1: where we are once again headed back into our archive 3 00:00:08,560 --> 00:00:11,720 Speaker 1: as Stories to bring you this episode on Alfred Hitchcock. 4 00:00:12,520 --> 00:00:16,000 Speaker 1: Hitchcock is the og crime junkie. He grew up obsessed 5 00:00:16,040 --> 00:00:20,959 Speaker 1: with stories about strangers, body snatchers, necrophiliacs, and serial killers. 6 00:00:21,400 --> 00:00:24,320 Speaker 1: Hitchcock is also one of the greatest directors of all time. 7 00:00:24,720 --> 00:00:26,880 Speaker 1: He is so iconic that we even have an adjective 8 00:00:27,200 --> 00:00:30,920 Speaker 1: Hitchcockian to describe his style. He started his career in 9 00:00:30,960 --> 00:00:33,600 Speaker 1: the silent film era, so he mastered the art of 10 00:00:33,720 --> 00:00:37,040 Speaker 1: visual storytelling early on, and the ability to tell a 11 00:00:37,080 --> 00:00:40,839 Speaker 1: story through visuals became one of the defining hallmarks of 12 00:00:40,880 --> 00:00:43,720 Speaker 1: his style. Even when he made the move from England 13 00:00:43,720 --> 00:00:47,960 Speaker 1: to Hollywood and began shooting films with sound, Hitchcock's influence 14 00:00:48,000 --> 00:00:50,440 Speaker 1: has been one of the most seismic in the industry 15 00:00:50,479 --> 00:00:52,839 Speaker 1: over the decades. You can see the ripples of that 16 00:00:52,920 --> 00:00:57,800 Speaker 1: influence in films by Steven Spielberg, David Fincher, Paul Thomas Anderson, 17 00:00:58,040 --> 00:01:01,840 Speaker 1: Jordan peel Bon, June Hoe, and so many others. But 18 00:01:01,920 --> 00:01:04,600 Speaker 1: there was a dark psychology to Hitchcock the man, just 19 00:01:04,680 --> 00:01:07,679 Speaker 1: as they were often dark psychologies in the characters of 20 00:01:07,720 --> 00:01:11,319 Speaker 1: his films, and there were obsessions even darker than his 21 00:01:11,400 --> 00:01:14,480 Speaker 1: boyhood obsession with true crime. I hope you enjoyed this 22 00:01:14,520 --> 00:01:17,200 Speaker 1: episode on Alfred Hitchcock, and then I hope you'll join 23 00:01:17,240 --> 00:01:19,520 Speaker 1: me again on Wednesday in the Rap Party, where I'll 24 00:01:19,520 --> 00:01:21,800 Speaker 1: talk about hitch and more detail, and then again on 25 00:01:21,840 --> 00:01:24,399 Speaker 1: Friday in the Screening Room, where I'll do a deep 26 00:01:24,440 --> 00:01:26,679 Speaker 1: dive into his nineteen fifty eight masterpiece. 27 00:01:27,000 --> 00:01:34,440 Speaker 2: Further this episode contains content that may be disturbing to 28 00:01:34,480 --> 00:01:37,480 Speaker 2: some listeners. Please check the show notes for more information. 29 00:01:38,560 --> 00:01:54,240 Speaker 3: Hollywood Land is a production of Double Elvis. This is 30 00:01:54,280 --> 00:01:57,560 Speaker 3: a story about one of the greatest filmmakers of all time, 31 00:01:58,000 --> 00:02:01,880 Speaker 3: Alfred Hitchcock. Also a story about some of the most 32 00:02:01,960 --> 00:02:07,000 Speaker 3: vicious killers in English and American history, killers who captured 33 00:02:07,000 --> 00:02:10,320 Speaker 3: the imagination of Alfred Hitchcock and who compelled him to 34 00:02:10,400 --> 00:02:16,400 Speaker 3: create classic tales of fear, horror, paranoia in suspense. And 35 00:02:16,440 --> 00:02:20,560 Speaker 3: this is a story about power, more specifically the abuse 36 00:02:20,600 --> 00:02:24,520 Speaker 3: of power by a controlling auteur hell bent on having 37 00:02:24,560 --> 00:02:26,840 Speaker 3: his way with a woman who he assumed to be 38 00:02:26,919 --> 00:02:33,000 Speaker 3: a powerless actress. An actress Tippyhedron who demonstrated remarkable strength 39 00:02:33,160 --> 00:02:37,400 Speaker 3: and survived both personally and professionally to tell her story, 40 00:02:38,320 --> 00:02:40,680 Speaker 3: and despite the hell she went through behind the scenes, 41 00:02:41,280 --> 00:02:45,079 Speaker 3: the stories she played on screen for Alfred Hitchcock were 42 00:02:45,160 --> 00:02:48,720 Speaker 3: great films. Unlike that clip I played for you at 43 00:02:48,720 --> 00:02:51,639 Speaker 3: the top of the show that wasn't from a great film. 44 00:02:52,440 --> 00:02:54,640 Speaker 3: That was a fair youth sample from the Library of 45 00:02:54,680 --> 00:03:00,280 Speaker 3: Congress of Mystery by John Beac's Novelty Orchestra. I do 46 00:03:00,320 --> 00:03:02,520 Speaker 3: that clip because I can't afford the rights to a 47 00:03:02,560 --> 00:03:06,200 Speaker 3: clip from Hitchcock's The Birds. And why would I play 48 00:03:06,240 --> 00:03:09,960 Speaker 3: you that specific slice of feathered fear? Could I afford it? 49 00:03:11,080 --> 00:03:14,160 Speaker 3: Because that was the number one movie in America. On 50 00:03:14,240 --> 00:03:17,400 Speaker 3: March twenty eighth, nineteen sixty three, The Day of the 51 00:03:17,400 --> 00:03:22,040 Speaker 3: Birds was released in theaters, shocking audiences with an ending 52 00:03:22,160 --> 00:03:25,760 Speaker 3: so visceral and so violent that it felt real because 53 00:03:26,560 --> 00:03:34,920 Speaker 3: it was on this episode violent killers, violent control, violent Birds, vindication, 54 00:03:35,520 --> 00:03:40,680 Speaker 3: and Alfred Hitchcock. I'm Jake Brennan, and this is Hollywood, 55 00:03:40,760 --> 00:04:12,440 Speaker 3: lamb Leopold and loebe Earl, Nelson, Neville, Heath, ed Geen. 56 00:04:13,720 --> 00:04:16,480 Speaker 3: These names may not be familiar to you now. In 57 00:04:16,480 --> 00:04:20,120 Speaker 3: twenty twenty four, but back in the nineteen twenties the 58 00:04:20,200 --> 00:04:24,360 Speaker 3: nineteen forties. In the nineteen fifties, these men made headlines 59 00:04:24,600 --> 00:04:29,160 Speaker 3: for their deeply disturbing and utterly depraved crimes they committed. 60 00:04:30,600 --> 00:04:33,599 Speaker 3: Nathan Leopold and Richard Loeb stabbed a fourteen year old 61 00:04:33,600 --> 00:04:35,960 Speaker 3: boy to death with a chisel just to see if 62 00:04:36,000 --> 00:04:39,080 Speaker 3: they could get away with it. Earl Nelson murdered at 63 00:04:39,160 --> 00:04:42,880 Speaker 3: least twenty two women, mostly landladies, in a little over 64 00:04:42,920 --> 00:04:46,680 Speaker 3: a year. Sometimes he even had sex with their corpses. 65 00:04:47,600 --> 00:04:53,480 Speaker 3: Neville Heath aka the Lady Killer, was a sadist who bound, gagged, whipped, 66 00:04:53,640 --> 00:04:56,680 Speaker 3: and murdered two women in England. He got off on it, 67 00:04:57,040 --> 00:05:01,719 Speaker 3: the sex and the murder. Gheen was a collector. He 68 00:05:01,800 --> 00:05:05,920 Speaker 3: made bowls from human skulls, a belt from human nipples. 69 00:05:06,360 --> 00:05:09,560 Speaker 3: He killed women and stole corpses from graves with the 70 00:05:09,600 --> 00:05:13,039 Speaker 3: express purpose to create a skin suit from their body parts, 71 00:05:13,200 --> 00:05:15,920 Speaker 3: which would allow him, at least in his mind, to 72 00:05:16,040 --> 00:05:21,919 Speaker 3: become his dead mother. These stories terrified people here in 73 00:05:21,920 --> 00:05:25,640 Speaker 3: the United States and abroad. Alfred Hitchcock, for one, was 74 00:05:25,720 --> 00:05:30,400 Speaker 3: obsessed with these stories. Hitch as he was known, grew 75 00:05:30,520 --> 00:05:33,919 Speaker 3: up on murder. I mean He literally grew up a 76 00:05:33,960 --> 00:05:37,520 Speaker 3: few blocks away from Whitechapel at London's East End, the 77 00:05:37,560 --> 00:05:40,680 Speaker 3: sight of five brutal, unsolved murders at the end of 78 00:05:40,760 --> 00:05:44,520 Speaker 3: the nineteenth century. That was the time too, of Jack 79 00:05:44,600 --> 00:05:47,919 Speaker 3: the Ripper, who began his bloody work about eight years 80 00:05:47,920 --> 00:05:51,679 Speaker 3: before hitch was born in eighteen ninety nine. And where 81 00:05:51,720 --> 00:05:55,039 Speaker 3: was Dirty Jack Now? He lived on in the minds 82 00:05:55,080 --> 00:05:58,360 Speaker 3: of thousands of English children whose mothers told them that 83 00:05:58,400 --> 00:06:02,240 Speaker 3: if they misbehaved, the Ripper would come to get them. 84 00:06:02,440 --> 00:06:06,440 Speaker 3: And then in nineteen twenty seven, Jack the Ripper struck again, 85 00:06:07,000 --> 00:06:10,520 Speaker 3: this time on a movie screen, a fictionalized version that 86 00:06:10,680 --> 00:06:14,200 Speaker 3: is in one of Alfred Hitchcock's earliest films, The Lodger, 87 00:06:14,600 --> 00:06:18,719 Speaker 3: a story of the London Fog. All of Hitchcock's other 88 00:06:18,920 --> 00:06:23,839 Speaker 3: sessions soon followed. The prolific Landlady Killer Earl Nelson became 89 00:06:23,880 --> 00:06:27,479 Speaker 3: the character of Uncle Charlie in Hitchcock's nineteen forty three 90 00:06:27,560 --> 00:06:32,200 Speaker 3: thriller Shadow of Adult. Leopold and Low were transformed into 91 00:06:32,200 --> 00:06:35,200 Speaker 3: two preppees who strangle a classmate for the hell of it. 92 00:06:35,240 --> 00:06:40,080 Speaker 3: In Hitchcock's incredible nineteen forty eight film Rope, The Sexual 93 00:06:40,160 --> 00:06:43,599 Speaker 3: sadist Neville Heath was the inspiration for the so called 94 00:06:43,680 --> 00:06:48,039 Speaker 3: necktie killer in one of Hitchcock's final films, Frenzy and 95 00:06:48,200 --> 00:06:51,599 Speaker 3: Human Skin Wearing. Ed Gean bore more than a passing 96 00:06:51,720 --> 00:06:55,839 Speaker 3: resemblance to Norman Bates, the hotel proprietor who lives with 97 00:06:55,880 --> 00:07:00,960 Speaker 3: his dead mother in Hitchcock's hugely popular movie Psycho. That 98 00:07:01,279 --> 00:07:04,120 Speaker 3: was the Big One, more than thirty years after his 99 00:07:04,279 --> 00:07:08,120 Speaker 3: directorial debut, After making more movies than most directors make 100 00:07:08,160 --> 00:07:12,720 Speaker 3: in a lifetime, silent films, talkies, black and white, technicolor Now, 101 00:07:12,760 --> 00:07:16,600 Speaker 3: in nineteen sixty Alfred Hitchcock, at age sixty one, was 102 00:07:16,640 --> 00:07:19,640 Speaker 3: not only the most famous director working in Hollywood, but 103 00:07:19,720 --> 00:07:22,960 Speaker 3: also the most wealthy, all thanks to a movie which 104 00:07:22,960 --> 00:07:25,880 Speaker 3: broke just about every rule. A movie in which the 105 00:07:25,960 --> 00:07:30,000 Speaker 3: lead character, Marion Crane played by Janet Lee, is killed 106 00:07:30,000 --> 00:07:33,880 Speaker 3: off at the halfway point. The iconic shower scene, its 107 00:07:33,960 --> 00:07:37,640 Speaker 3: barrage of off kilter camera angles, the fast paced editing, 108 00:07:37,840 --> 00:07:42,440 Speaker 3: Bernard Herman's piercing score, all of it was incredibly shocking. 109 00:07:42,480 --> 00:07:45,960 Speaker 3: At the time. Moviegoers were so frightened that they were 110 00:07:45,960 --> 00:07:49,640 Speaker 3: literally running up and down the cinema aisle screaming. But 111 00:07:49,680 --> 00:07:53,040 Speaker 3: it wasn't just the movie. It was the marketing, the execution. 112 00:07:53,680 --> 00:07:56,760 Speaker 3: No admittance once the picture has started, please don't spoil 113 00:07:56,840 --> 00:08:02,160 Speaker 3: the ending. Hitchcock had the world right where he wanted it, 114 00:08:02,640 --> 00:08:06,720 Speaker 3: under his spell, under his control, and scared to death. 115 00:08:08,160 --> 00:08:11,480 Speaker 3: Little did anyone know, however, that you, Alfred Hitchcock, were 116 00:08:11,520 --> 00:08:14,680 Speaker 3: the most scared of all. You never showed it. You 117 00:08:14,760 --> 00:08:17,800 Speaker 3: gave them that stiff upper lip and morbid sense of humor, 118 00:08:18,400 --> 00:08:23,600 Speaker 3: so impenetrable, so British, but it was true. Everything you did, 119 00:08:23,880 --> 00:08:26,960 Speaker 3: every movie you made, it was all out of fear, 120 00:08:27,560 --> 00:08:30,240 Speaker 3: a fear that had been there since you were a child. 121 00:08:31,040 --> 00:08:33,560 Speaker 3: Fear that Jack the Ripper was coming to get you. 122 00:08:34,080 --> 00:08:37,319 Speaker 3: Fear of the Jesuit priests who doled out that Headmaster 123 00:08:37,440 --> 00:08:40,720 Speaker 3: ritual on your knuckles with a strap. You were afraid 124 00:08:40,760 --> 00:08:44,720 Speaker 3: of authority, especially the police, after that one time that 125 00:08:44,760 --> 00:08:47,600 Speaker 3: you came homely and your father had some London cops 126 00:08:47,679 --> 00:08:50,000 Speaker 3: toss you in a holding cell to teach you a lesson. 127 00:08:50,840 --> 00:08:54,800 Speaker 3: You were afraid of the dark of crowds. Most of all, though, 128 00:08:55,280 --> 00:09:01,040 Speaker 3: you were afraid of being alone, even on a movie set, 129 00:09:01,280 --> 00:09:04,640 Speaker 3: surrounded by your team of collaborators, all the people so 130 00:09:04,800 --> 00:09:09,160 Speaker 3: crucial to executing your supposed auteur vision. You knew how 131 00:09:09,160 --> 00:09:12,760 Speaker 3: they all saw you because you saw yourself the exact 132 00:09:12,800 --> 00:09:17,680 Speaker 3: same way, overweight, unattractive, an appearance that only became more 133 00:09:17,720 --> 00:09:19,800 Speaker 3: grotesque when you were pictured next to one of your 134 00:09:19,880 --> 00:09:23,800 Speaker 3: leading men debonair types like Carry Grant or Jimmy Stewart. 135 00:09:24,240 --> 00:09:27,480 Speaker 3: You worried that the great pulp crime novelist Raymond Chandler, 136 00:09:27,720 --> 00:09:30,800 Speaker 3: who wrote the script for your excellent nineteen fifty one 137 00:09:30,880 --> 00:09:33,800 Speaker 3: film Strangers on a Train, spoke for everyone when he 138 00:09:33,840 --> 00:09:36,280 Speaker 3: watched you exit your automobile and said, look at that 139 00:09:36,360 --> 00:09:39,240 Speaker 3: fat bastard trying to get out of his car. He 140 00:09:39,280 --> 00:09:42,240 Speaker 3: didn't know that you heard him, but you did. You 141 00:09:42,320 --> 00:09:47,160 Speaker 3: heard everything. The insults stung, but you got your revenge, 142 00:09:47,600 --> 00:09:50,640 Speaker 3: not just on Raymond Chandler, whom you fired, but on 143 00:09:50,679 --> 00:09:53,439 Speaker 3: the world. You took all your fears and put them 144 00:09:53,440 --> 00:09:56,240 Speaker 3: on celluloid, and then projected the film on the largest 145 00:09:56,280 --> 00:10:00,959 Speaker 3: screens possible. You subjected the masses to your own crippling anxieties. 146 00:10:01,440 --> 00:10:05,920 Speaker 3: You were a master not just a suspense, but of control. 147 00:10:06,240 --> 00:10:10,199 Speaker 3: Every shot storyboarded in advance, every move made by every 148 00:10:10,240 --> 00:10:14,040 Speaker 3: actor done just so because you told them to. Hey, 149 00:10:14,440 --> 00:10:18,000 Speaker 3: you said it. Actors deserve to be treated like cattle. 150 00:10:18,880 --> 00:10:21,520 Speaker 3: Now you were the master of the box office, fear 151 00:10:21,559 --> 00:10:24,920 Speaker 3: and obsession being the twin engines that drove you. Obsession 152 00:10:25,000 --> 00:10:27,319 Speaker 3: being the thing at the center of your poeticuette. Deeply 153 00:10:27,400 --> 00:10:30,440 Speaker 3: fucked up movie Vertigo, a movie that was panned by 154 00:10:30,480 --> 00:10:34,400 Speaker 3: critics and dismissed by audiences upon its release, didn't matter. 155 00:10:34,679 --> 00:10:36,880 Speaker 3: You were the guy who made Rear Window, north By 156 00:10:36,920 --> 00:10:41,360 Speaker 3: Northwest some of the greatest movies of all time. Plus 157 00:10:41,559 --> 00:10:45,360 Speaker 3: decades later, long after you died, Vertigo finally got its 158 00:10:45,400 --> 00:10:49,880 Speaker 3: props when an unseated Citizen Kane as the greatest movie 159 00:10:49,920 --> 00:10:52,720 Speaker 3: of all time, at least in the eyes of the 160 00:10:52,840 --> 00:10:56,720 Speaker 3: esteemed critics Poll and Sight and Sound Magazine. Revenge in 161 00:10:56,800 --> 00:11:02,520 Speaker 3: life and again in death. But right now, as nineteen 162 00:11:02,600 --> 00:11:06,040 Speaker 3: sixty gave way to nineteen sixty one, revenge wasn't on 163 00:11:06,080 --> 00:11:09,720 Speaker 3: the mind of the most powerful director in Hollywood. Once again, 164 00:11:10,120 --> 00:11:15,480 Speaker 3: Alfred Hitchcock was obsessed, this time, though not with murder. 165 00:11:17,200 --> 00:11:21,040 Speaker 3: Murder was just a mcguffin, a mcguffin being the narrative 166 00:11:21,040 --> 00:11:24,560 Speaker 3: device Hitchcock employed in many of his films. Think of 167 00:11:24,600 --> 00:11:26,920 Speaker 3: it like a red herring, something that moves the plot 168 00:11:27,000 --> 00:11:29,840 Speaker 3: and the characters along, but ultimately is kind of a 169 00:11:29,880 --> 00:11:33,600 Speaker 3: fake out. The briefcase in pulp fiction the Ark of 170 00:11:33,640 --> 00:11:37,520 Speaker 3: the Covenant and Raiders of the Lost Arc. These are mcguffins. 171 00:11:38,320 --> 00:11:41,680 Speaker 3: In Psycho, the mcguffin is the forty thousand dollars that 172 00:11:41,800 --> 00:11:44,439 Speaker 3: Mary and Crane steals from her employer and takes with 173 00:11:44,559 --> 00:11:48,120 Speaker 3: her on the run. In this episode of Disgraceland, the 174 00:11:48,200 --> 00:11:51,600 Speaker 3: mcguffin is all this stuff about Alfred Hitchcock being obsessed 175 00:11:51,640 --> 00:11:56,000 Speaker 3: with murder, which he was, But Alfred Hitchcock was truly 176 00:11:56,080 --> 00:12:00,520 Speaker 3: obsessed with something else, or should I say, with someone 177 00:12:00,559 --> 00:12:03,600 Speaker 3: else I had, like a character in a Hitchcock movie 178 00:12:04,040 --> 00:12:07,240 Speaker 3: that's someone else was the object not only of affection 179 00:12:07,720 --> 00:12:42,559 Speaker 3: but of lust, jealousy, and torture. Tippy Heatern needed steady, 180 00:12:42,679 --> 00:12:46,800 Speaker 3: reliable work. In nineteen sixty one, Tippy was a thirty 181 00:12:46,840 --> 00:12:49,719 Speaker 3: one year old model, recently divorced, with a four year 182 00:12:49,720 --> 00:12:52,480 Speaker 3: old daughter to support and plenty of bills to pay. 183 00:12:53,480 --> 00:12:56,679 Speaker 3: Modeling provided when the gigs were there, but it wasn't 184 00:12:56,720 --> 00:12:59,960 Speaker 3: steady and it wasn't reliable, which, as I've just pointed out, 185 00:13:00,000 --> 00:13:03,640 Speaker 3: were two things Kippy hedn needed. So once she got 186 00:13:03,640 --> 00:13:05,560 Speaker 3: a phone call out of the blue from the talent 187 00:13:05,600 --> 00:13:08,120 Speaker 3: agency in Los Angeles, so it was interested in her. 188 00:13:08,480 --> 00:13:12,160 Speaker 3: She didn't question it, she didn't ask why me. She 189 00:13:12,240 --> 00:13:15,680 Speaker 3: took the meeting. Just days later, she got an offer, 190 00:13:16,080 --> 00:13:19,199 Speaker 3: not from the talent agency and not from modeling work. 191 00:13:19,679 --> 00:13:22,040 Speaker 3: This was an offer to work as an actress under 192 00:13:22,160 --> 00:13:25,280 Speaker 3: exclusive contract to the most famous director in the world, 193 00:13:25,679 --> 00:13:29,920 Speaker 3: the director she hadn't even met yet. Tippy Hedrin had 194 00:13:29,960 --> 00:13:33,080 Speaker 3: no idea that Just days earlier, Alfred Hitchcock and his 195 00:13:33,120 --> 00:13:35,880 Speaker 3: wife Alma had been watching TV in their bel Air 196 00:13:35,920 --> 00:13:38,320 Speaker 3: home when they happened to catch Tippy in a commercial 197 00:13:38,360 --> 00:13:42,720 Speaker 3: for a liquid diet drinking Alma was Hitchcock's closest collaborator 198 00:13:43,000 --> 00:13:46,200 Speaker 3: and had been for his entire career. She was his 199 00:13:46,320 --> 00:13:50,720 Speaker 3: story consultant, his script editor, his gut check. But Alma 200 00:13:50,800 --> 00:13:55,080 Speaker 3: Hitchcock wasn't Grace Kelly. She wasn't Ingrid Bergmann or Janet 201 00:13:55,120 --> 00:13:57,920 Speaker 3: Lee or any of the blonde actresses that her husband 202 00:13:58,000 --> 00:14:01,240 Speaker 3: gravitated toward when it came to casting his films, and 203 00:14:01,320 --> 00:14:03,600 Speaker 3: she certainly wasn't the woman they were both watching on 204 00:14:03,640 --> 00:14:09,160 Speaker 3: the family television set right now, the commercial played. It 205 00:14:09,200 --> 00:14:12,000 Speaker 3: was brief, but hitch couldn't take his eyes off of her, 206 00:14:12,240 --> 00:14:15,840 Speaker 3: some thirty years his junior, Her short blonde hair, her 207 00:14:15,880 --> 00:14:19,800 Speaker 3: close fitting white outfit, her smile. She made him feel 208 00:14:19,800 --> 00:14:22,160 Speaker 3: the way he felt when he was around Grace. But 209 00:14:22,280 --> 00:14:25,680 Speaker 3: she was better than Grace. She wasn't off playing princess 210 00:14:25,720 --> 00:14:29,000 Speaker 3: and Monaco. She was a nobody who could be a somebody, 211 00:14:29,520 --> 00:14:32,920 Speaker 3: his somebody. He was smitten and he had to know 212 00:14:33,000 --> 00:14:36,840 Speaker 3: who she was. He picked up the receiver of his telephone, 213 00:14:37,160 --> 00:14:40,000 Speaker 3: dialed his agent and spoke three words like he was 214 00:14:40,040 --> 00:14:43,840 Speaker 3: calling out orders on a movie set. Find the girl, 215 00:14:45,240 --> 00:14:49,920 Speaker 3: and now he had her the girl. Tippy Hedrin signed 216 00:14:49,960 --> 00:14:52,960 Speaker 3: to a seven year contract, five hundred dollars a week 217 00:14:53,120 --> 00:14:58,000 Speaker 3: for which she'd work for him and him only. But 218 00:14:58,120 --> 00:15:01,440 Speaker 3: working for Alfred Hitchcock didn't just provide a paycheck. It 219 00:15:01,520 --> 00:15:04,680 Speaker 3: provided a whole new wardrobe. Before she had even proven 220 00:15:04,680 --> 00:15:07,880 Speaker 3: herself as an actress, hitch sent Tippy to his legendary 221 00:15:07,920 --> 00:15:11,600 Speaker 3: costume designer, Edith's Head. Tippy felt like she was walking 222 00:15:11,640 --> 00:15:13,960 Speaker 3: into a dream as she walked through the tall red 223 00:15:14,000 --> 00:15:17,360 Speaker 3: double doors that led into Edith's workspace. On the Universal 224 00:15:17,400 --> 00:15:20,200 Speaker 3: Pictures lot. She felt like she was in a fairy 225 00:15:20,280 --> 00:15:22,600 Speaker 3: tale when Edith took her measurements and made her the 226 00:15:22,640 --> 00:15:28,520 Speaker 3: most elegant clothes, ball gowns, cocktail dresses, pants, scenes and all. 227 00:15:28,800 --> 00:15:31,480 Speaker 3: Hitchcock spent over a quarter of a million dollars in 228 00:15:31,520 --> 00:15:36,080 Speaker 3: today's money on Tippy's wardrobe alone. No expense was spared, 229 00:15:37,840 --> 00:15:40,600 Speaker 3: not when it came to making Tippy look how Hitchcock 230 00:15:40,680 --> 00:15:43,520 Speaker 3: wanted her to look. He spent more money than anyone 231 00:15:43,520 --> 00:15:45,640 Speaker 3: had ever spent in Hollywood history to produce a series 232 00:15:45,680 --> 00:15:48,160 Speaker 3: of screen tests which Tippy performed scenes from three of 233 00:15:48,240 --> 00:15:52,320 Speaker 3: Hitchcock's older movies. A screen test is typically a more 234 00:15:52,400 --> 00:15:55,280 Speaker 3: modest exercise in which an actor performs a scene on 235 00:15:55,360 --> 00:15:57,680 Speaker 3: camera so that the director can get a sense of 236 00:15:57,680 --> 00:16:02,600 Speaker 3: how they'll appear on film. These were elaborate productions, staged 237 00:16:02,680 --> 00:16:06,680 Speaker 3: with full sets and costumes. Tippy was flattered by the attention, 238 00:16:07,000 --> 00:16:09,880 Speaker 3: but a little confused. Even to someone new to the 239 00:16:09,880 --> 00:16:14,320 Speaker 3: movie making process, this scenemed both indulgent and strange, and 240 00:16:14,360 --> 00:16:16,560 Speaker 3: to be frank it was more than a little reminiscent 241 00:16:16,560 --> 00:16:20,200 Speaker 3: of Vertigo, Hitchcock's coldly received movie from a few years 242 00:16:20,240 --> 00:16:23,000 Speaker 3: prior in which Jimmy Stewart dresses up a woman to 243 00:16:23,000 --> 00:16:25,240 Speaker 3: make her look like another woman whom he believes to 244 00:16:25,280 --> 00:16:29,320 Speaker 3: be dead. The sexual perversion in the third act of 245 00:16:29,360 --> 00:16:32,920 Speaker 3: that film was largely coded in the subtext given the times. 246 00:16:33,400 --> 00:16:37,080 Speaker 3: But this, this thing with Tippy here, this wasn't a movie. 247 00:16:37,200 --> 00:16:39,640 Speaker 3: Alfred Hitchcock didn't have to code anything if he didn't 248 00:16:39,680 --> 00:16:42,000 Speaker 3: want to. He told Tippy that he had an idea 249 00:16:42,040 --> 00:16:44,960 Speaker 3: for another kind of screen test. In this one, as 250 00:16:44,960 --> 00:16:47,960 Speaker 3: he explained, he would provide her with a martini, which 251 00:16:47,960 --> 00:16:50,920 Speaker 3: she would drink. After she finished, he would ask her 252 00:16:50,960 --> 00:16:54,160 Speaker 3: a provocative question. He would give her a second martini, 253 00:16:54,280 --> 00:16:56,760 Speaker 3: which she would consume, and then Hitchcock would ask his 254 00:16:56,800 --> 00:16:59,840 Speaker 3: next question, this one even more provocative than the first, 255 00:17:00,480 --> 00:17:04,520 Speaker 3: A third martini, a third question. Could she even imagine 256 00:17:04,520 --> 00:17:07,200 Speaker 3: what these questions would be? Would they make her blush? 257 00:17:07,320 --> 00:17:11,240 Speaker 3: Would they excite her? Hitchcock wanted to know. He was 258 00:17:11,280 --> 00:17:14,520 Speaker 3: practically giddy as he asked, waiting with bated breath for 259 00:17:14,600 --> 00:17:18,160 Speaker 3: Tippy to respond. But Tippy didn't know how to respond. 260 00:17:18,760 --> 00:17:22,080 Speaker 3: All this talk about getting her drunk made her feel uncomfortable, 261 00:17:22,440 --> 00:17:25,760 Speaker 3: so she didn't say anything. She just stood up and 262 00:17:25,840 --> 00:17:31,280 Speaker 3: walked away. If Hitchcock was irritated by that, he didn't 263 00:17:31,320 --> 00:17:34,919 Speaker 3: show it not. At first, he bypassed all the A 264 00:17:35,040 --> 00:17:37,399 Speaker 3: list talent he'd worked with for years and cast Tippy 265 00:17:37,440 --> 00:17:39,879 Speaker 3: as the lead in his new film, The Birds, the 266 00:17:39,920 --> 00:17:42,760 Speaker 3: long awaited follow up to Psycho, in which residents of 267 00:17:42,800 --> 00:17:47,160 Speaker 3: a coastal town are inexplicably attacked by violent birds. It 268 00:17:47,200 --> 00:17:50,159 Speaker 3: was Hitchcock's most costly film to shoot to date, and 269 00:17:50,240 --> 00:17:54,679 Speaker 3: this most technically challenging. Fifteen hundred shots were planned, twice 270 00:17:54,720 --> 00:17:57,119 Speaker 3: the average amount for a movie at that time, and 271 00:17:57,200 --> 00:18:00,639 Speaker 3: about a quarter of those were trick shots. A bird 272 00:18:00,720 --> 00:18:04,200 Speaker 3: trainer to work with hundreds of actual crows, gulls, and ravens, 273 00:18:04,440 --> 00:18:07,080 Speaker 3: as well as a special effects team to create shots 274 00:18:07,160 --> 00:18:13,439 Speaker 3: using mechanical or animated birds. At first, Hitchcock gave Tippy 275 00:18:13,480 --> 00:18:16,080 Speaker 3: instructions on how she should act, down to the most 276 00:18:16,119 --> 00:18:20,600 Speaker 3: minor movements in line readings. This was typical Hitchcock behavior. 277 00:18:21,000 --> 00:18:24,480 Speaker 3: An actor's motivation is his paycheck and all that, at 278 00:18:24,560 --> 00:18:27,359 Speaker 3: least in the eyes of the master of suspense. But 279 00:18:27,440 --> 00:18:31,119 Speaker 3: then Hitchcock had other instructions. He told Tippy what she 280 00:18:31,119 --> 00:18:34,320 Speaker 3: should eat, what clothes she should wear, when she wasn't 281 00:18:34,359 --> 00:18:37,840 Speaker 3: working who she could and could not see, and when 282 00:18:37,880 --> 00:18:41,679 Speaker 3: she deviated from these instructions, like when she spoke to 283 00:18:41,720 --> 00:18:47,199 Speaker 3: other men on set, Hitchcock got angry, very angry. Suddenly, 284 00:18:47,280 --> 00:18:49,320 Speaker 3: the man who had provided her with a new wardrobe 285 00:18:49,359 --> 00:18:52,560 Speaker 3: was treating her like shit, because in Hitchcock's mind, she 286 00:18:52,840 --> 00:18:56,919 Speaker 3: owed him. He had plucked her from obscurity. He was 287 00:18:56,960 --> 00:18:59,880 Speaker 3: turning her into a star. If it wasn't for him, 288 00:19:00,160 --> 00:19:03,000 Speaker 3: she would be making another mindlessad for whatever diet was 289 00:19:03,040 --> 00:19:05,199 Speaker 3: the fat of the week. The least she could do 290 00:19:05,280 --> 00:19:08,960 Speaker 3: was show him some appreciation, some affection. Even it didn't 291 00:19:09,000 --> 00:19:11,240 Speaker 3: have to be in public, in front of the entire crew. 292 00:19:11,840 --> 00:19:14,840 Speaker 3: It could be here inside his limo, where the two 293 00:19:14,880 --> 00:19:18,320 Speaker 3: of them were seated side by side in the backseat. 294 00:19:19,040 --> 00:19:22,000 Speaker 3: The driver slowed to a crawl and pulled up outside 295 00:19:22,040 --> 00:19:26,879 Speaker 3: Tippy's hotel, and without warning, Hitchcock lunched for her. She 296 00:19:26,880 --> 00:19:29,680 Speaker 3: couldn't avoid him, that big body of his, the one 297 00:19:29,720 --> 00:19:33,800 Speaker 3: he knew everyone talked about, swallowing up Tippy's petite, delicate form. 298 00:19:34,480 --> 00:19:37,480 Speaker 3: Hitchcock tried to put his lips on her, and she recoiled, screaming, 299 00:19:37,560 --> 00:19:40,040 Speaker 3: hitch what are you doing? She used every muscle in 300 00:19:40,080 --> 00:19:42,560 Speaker 3: her body to push the director off of her. Her 301 00:19:42,560 --> 00:19:45,520 Speaker 3: heart dropped to her stomach as his beat frantically inside 302 00:19:45,560 --> 00:19:49,159 Speaker 3: of his chest. She panicked. She grabbed the door handle 303 00:19:49,200 --> 00:19:51,720 Speaker 3: and yanked on it. The door flew open, and she 304 00:19:51,800 --> 00:19:54,840 Speaker 3: fell out, landing on her feet, running straight through the 305 00:19:54,840 --> 00:20:01,040 Speaker 3: front door of her hotel into safety. Tippy Hedrin was shocked. 306 00:20:01,560 --> 00:20:04,679 Speaker 3: She was young, she was attractive, She was used to 307 00:20:04,680 --> 00:20:07,440 Speaker 3: men hitting on her, but nothing like this had ever happened. 308 00:20:07,960 --> 00:20:09,920 Speaker 3: The fact that it was now happening with the man 309 00:20:10,000 --> 00:20:12,760 Speaker 3: she was legally bound to professionally, at least for the 310 00:20:12,840 --> 00:20:15,960 Speaker 3: next seven years, that was a problem. What was she 311 00:20:16,000 --> 00:20:18,639 Speaker 3: going to do? What could she do? Who could she 312 00:20:18,760 --> 00:20:21,760 Speaker 3: go to? It's not like no one knew it was happening. 313 00:20:22,160 --> 00:20:25,720 Speaker 3: Even Alma Hitchcock knew it was happening, Hitchcock's wife. This 314 00:20:25,880 --> 00:20:28,760 Speaker 3: was the early nineteen sixties, after all, when gross behavior 315 00:20:28,840 --> 00:20:31,720 Speaker 3: like this was not only tolerated, but usually swept under 316 00:20:31,720 --> 00:20:37,959 Speaker 3: the carpet. For now, Tippy Hedron decided to remain professional, smile, 317 00:20:38,080 --> 00:20:41,040 Speaker 3: and do her job. She wasn't going to let Alfred 318 00:20:41,119 --> 00:20:49,679 Speaker 3: Hitchcock break her. We'll be right back after this word 319 00:20:49,840 --> 00:21:03,280 Speaker 3: word word regarding Tippy Heterron's best professional intentions, Alfred Hitchcock 320 00:21:03,640 --> 00:21:07,400 Speaker 3: had other ideas. Back on the set for The Birds, 321 00:21:07,680 --> 00:21:10,879 Speaker 3: the crew prepared to shoot the film's climactic action scene, 322 00:21:10,920 --> 00:21:15,000 Speaker 3: where Tippy's character is viciously assaulted by birds in an 323 00:21:15,040 --> 00:21:18,680 Speaker 3: attic bedroom. Tippy didn't understand the point of the scene 324 00:21:18,720 --> 00:21:22,040 Speaker 3: in the first place. If the entire town is under attack, 325 00:21:22,119 --> 00:21:24,320 Speaker 3: if two people have already died, if there is a 326 00:21:24,440 --> 00:21:27,880 Speaker 3: seriously pissed off flock surrounding the house she's in right now, 327 00:21:28,040 --> 00:21:30,200 Speaker 3: and she hears bird sounds from up in the attic, 328 00:21:30,240 --> 00:21:32,679 Speaker 3: then why the hell would her character go upstairs to 329 00:21:32,760 --> 00:21:37,880 Speaker 3: investigate in the attic by herself. You'll do it, Hitchcock said, 330 00:21:38,320 --> 00:21:42,480 Speaker 3: because I tell you too. Tippy took a deep breath. 331 00:21:42,920 --> 00:21:45,320 Speaker 3: She let her mantra play over and over in her head. 332 00:21:45,960 --> 00:21:48,159 Speaker 3: I will not let him break me. I will not 333 00:21:48,600 --> 00:21:54,640 Speaker 3: let him break me. She remains steady, reliable, as steady 334 00:21:54,640 --> 00:21:58,240 Speaker 3: and as reliable as the paychecks Hitchcock provided her every week. 335 00:21:58,960 --> 00:22:01,280 Speaker 3: She remained this way when she was told on the 336 00:22:01,320 --> 00:22:04,359 Speaker 3: first day of shooting this particular scene a Monday, that 337 00:22:04,400 --> 00:22:07,240 Speaker 3: the mechanical birds they were planning to use had broken 338 00:22:07,280 --> 00:22:11,280 Speaker 3: down that instead they would be using real birds, that 339 00:22:11,359 --> 00:22:14,200 Speaker 3: she would need to walk into a giant bird cage. 340 00:22:14,480 --> 00:22:16,840 Speaker 3: The two men would be standing on either side of 341 00:22:16,880 --> 00:22:20,720 Speaker 3: the camera, heavy duty gloves on their hands, holding large cartains. 342 00:22:21,520 --> 00:22:24,240 Speaker 3: She remained steady as she put herself right where hitch 343 00:22:24,359 --> 00:22:27,320 Speaker 3: wanted her. Hitchcock played her just like he'd played the 344 00:22:27,359 --> 00:22:30,240 Speaker 3: audience with Psycho, and just like he was planning to 345 00:22:30,280 --> 00:22:34,239 Speaker 3: play the audience with this film. He called action, and 346 00:22:34,280 --> 00:22:36,280 Speaker 3: those two men on either side of the camera opened 347 00:22:36,320 --> 00:22:38,680 Speaker 3: up those large cartons that they were holding, and out 348 00:22:38,800 --> 00:22:42,919 Speaker 3: came the birds, real birds, their beaks and talons sharp 349 00:22:42,960 --> 00:22:47,080 Speaker 3: as knives, soaring around the room, stuck in that giant cage, 350 00:22:47,119 --> 00:22:50,640 Speaker 3: with Tippy moving unpredictably dramatically, darting this way and that. 351 00:22:51,160 --> 00:22:53,240 Speaker 3: Every time they went for the exit, the handlers would 352 00:22:53,240 --> 00:22:56,200 Speaker 3: grab them and throw them back at Tippy's face. Tippy 353 00:22:56,440 --> 00:22:59,240 Speaker 3: was terrified as she fought to keep the birds off 354 00:22:59,280 --> 00:23:02,439 Speaker 3: of her, fought to a mad steady. I will not 355 00:23:02,920 --> 00:23:06,400 Speaker 3: let him break me. She said this over and over 356 00:23:06,440 --> 00:23:11,560 Speaker 3: again on Monday, and then on Tuesday, and again on Wednesday. 357 00:23:11,760 --> 00:23:16,240 Speaker 3: As they shot the same scene over and over. Tippy 358 00:23:16,640 --> 00:23:22,119 Speaker 3: was exhausted by Thursday, Day four, it was determined that 359 00:23:22,119 --> 00:23:24,399 Speaker 3: the birds were flying around too fast and thus for 360 00:23:24,560 --> 00:23:26,919 Speaker 3: not being captured on camera. In a way that pleased 361 00:23:26,960 --> 00:23:31,120 Speaker 3: Dalfred Hitchcock. Using elastic bands and nylon threads that were 362 00:23:31,160 --> 00:23:34,119 Speaker 3: run through small holes in Tippy's clothing, members of the 363 00:23:34,200 --> 00:23:38,879 Speaker 3: crew literally tied the birds to Tippy Hedron's body. Again, 364 00:23:39,280 --> 00:23:43,600 Speaker 3: Hitchcock called action. This time, the birds were even more 365 00:23:43,640 --> 00:23:45,719 Speaker 3: crazy and agitated on account of the fact that they 366 00:23:45,720 --> 00:23:48,760 Speaker 3: were attached to Tippy. They lashed out at her their 367 00:23:48,840 --> 00:23:52,000 Speaker 3: beaks and their claws, dug into Tippy's flesh, and tore 368 00:23:52,080 --> 00:23:54,720 Speaker 3: at her clothes. She wasn't sure anymore where the fake 369 00:23:54,760 --> 00:23:59,960 Speaker 3: blood stopped and the real blood began. The next day, Friday, 370 00:24:00,440 --> 00:24:05,600 Speaker 3: day five. Day five was more of the same, same scene, 371 00:24:05,880 --> 00:24:10,240 Speaker 3: same birds, tied to the same actress, same mantra, I 372 00:24:10,280 --> 00:24:14,200 Speaker 3: will not let him break me. Her words were ironclad, 373 00:24:14,480 --> 00:24:19,159 Speaker 3: but the birds were relentless. Ye landed on her and 374 00:24:19,200 --> 00:24:22,119 Speaker 3: started jabbing its beak in her left eye. It missed, 375 00:24:22,200 --> 00:24:26,080 Speaker 3: just barely dodging her lower lip. She couldn't take it anymore. 376 00:24:26,400 --> 00:24:30,919 Speaker 3: She lost it, screaming, her heart pounding. She then collapsed 377 00:24:30,960 --> 00:24:36,200 Speaker 3: to the floor. There's no way around this. I don't 378 00:24:36,240 --> 00:24:39,320 Speaker 3: care how much you like Alfred Hitchcock's movies. Tippy Hedron 379 00:24:39,640 --> 00:24:43,560 Speaker 3: was assaulted while making The Birds. She was assaulted, and 380 00:24:43,600 --> 00:24:47,200 Speaker 3: she was tortured until she had a nervous breakdown. That's 381 00:24:47,200 --> 00:24:51,040 Speaker 3: a fact. Directors do many things to elicit a performance 382 00:24:51,080 --> 00:24:54,080 Speaker 3: out of their actors, But when Alfred Hitchcock tossed live 383 00:24:54,160 --> 00:24:58,199 Speaker 3: birds at Tippy Hedron for five fucking days, five days straight, 384 00:24:58,520 --> 00:25:01,800 Speaker 3: he wasn't doing it to cox great performance. He did 385 00:25:01,840 --> 00:25:04,600 Speaker 3: it to trigger some sort of hysteria. He did it 386 00:25:04,640 --> 00:25:08,280 Speaker 3: out of malice. He'd been obsessed with this woman since 387 00:25:08,320 --> 00:25:10,840 Speaker 3: the day he saw her in a TV commercial, and 388 00:25:10,880 --> 00:25:14,120 Speaker 3: he had been rejected numerous times since. After making unwanted 389 00:25:14,160 --> 00:25:21,160 Speaker 3: comments and advances. The following Monday, the malice continued. Tippy's 390 00:25:21,160 --> 00:25:23,600 Speaker 3: doctors told Hitchcock that she needed to rest for a 391 00:25:23,640 --> 00:25:27,320 Speaker 3: few days. The production would need to halt. Hitchcock said 392 00:25:27,359 --> 00:25:30,600 Speaker 3: that wasn't going to be possible, to which the doctor replied, 393 00:25:31,040 --> 00:25:34,680 Speaker 3: what are you doing? You try to kill her. Hitchcock 394 00:25:34,720 --> 00:25:38,800 Speaker 3: eventually relented and Tippy got her rest from Hitchcock the director. 395 00:25:38,840 --> 00:25:42,480 Speaker 3: That is, there was no rest from Hitchcock. The obsessive. 396 00:25:44,359 --> 00:25:47,159 Speaker 3: He followed up the onset torture by commissioning the creation 397 00:25:47,240 --> 00:25:49,679 Speaker 3: of an expensive doll of Tippy and character from The 398 00:25:49,720 --> 00:25:53,280 Speaker 3: Birds and sent it to Tippy's young daughter. That's actress 399 00:25:53,280 --> 00:25:55,560 Speaker 3: Melanie Griffith, by the way. But he didn't just send 400 00:25:55,600 --> 00:25:58,240 Speaker 3: it to her. He sent it packaged in a tiny 401 00:25:58,280 --> 00:26:02,120 Speaker 3: little pine box that resemble to coffin. He then told 402 00:26:02,160 --> 00:26:05,440 Speaker 3: Tippy about his recurring dream, one in which she embraced 403 00:26:05,480 --> 00:26:08,720 Speaker 3: him and said, hitch I love you. I'll always love you. 404 00:26:09,240 --> 00:26:11,440 Speaker 3: He built her a fancy dressing room in a trailer 405 00:26:11,560 --> 00:26:14,320 Speaker 3: that just so happened to be located directly adjacent to 406 00:26:14,359 --> 00:26:17,520 Speaker 3: the back door of his private bungalow on the Universal Lot. 407 00:26:18,160 --> 00:26:21,080 Speaker 3: It was a short walk from Hitchcock's office to Tippy's trailer, 408 00:26:21,840 --> 00:26:26,440 Speaker 3: just how he liked it. He was making that walk 409 00:26:26,520 --> 00:26:30,399 Speaker 3: right now. In early nineteen sixty four, roughly a year 410 00:26:30,520 --> 00:26:33,800 Speaker 3: after The Birds was released to mixed reviews and only 411 00:26:33,840 --> 00:26:37,720 Speaker 3: a fifth of the box office receipts earned by its predecessor, Psycho, 412 00:26:38,400 --> 00:26:42,679 Speaker 3: Hitchcock was working on his new film Marnie, a psychological thriller, 413 00:26:42,680 --> 00:26:46,000 Speaker 3: on which Tippy Headron was starring opposite Sean Connery, and 414 00:26:46,080 --> 00:26:49,960 Speaker 3: speaking of opposites, Connery was the opposite of Hitchcock. He 415 00:26:50,080 --> 00:26:53,640 Speaker 3: was kind sensitive, not just a gentleman on the surface, 416 00:26:53,880 --> 00:26:57,680 Speaker 3: but deep down too. Sean Connery wasn't the one entering 417 00:26:57,680 --> 00:27:01,200 Speaker 3: her trailer though. Sean Connery wasn't a loud in her trailer. 418 00:27:01,520 --> 00:27:05,399 Speaker 3: Only Hitchcock was a loud. Hitch called the shots. He 419 00:27:05,480 --> 00:27:08,679 Speaker 3: told his screenwriter Evan Hunter to write a rape scene 420 00:27:08,720 --> 00:27:11,159 Speaker 3: in the Marty script. Hunter thought it was out of 421 00:27:11,280 --> 00:27:14,800 Speaker 3: character for the role that Sean Connery was playing, so Hunter, 422 00:27:14,880 --> 00:27:18,960 Speaker 3: the writer refused, and Hitchcock fired him. Hitchcock had someone 423 00:27:18,960 --> 00:27:21,439 Speaker 3: else right the scene, and then, while filming it, at 424 00:27:21,440 --> 00:27:24,359 Speaker 3: the moment that Tippy is sexually violated, he instructed his 425 00:27:24,440 --> 00:27:26,800 Speaker 3: camera man to zoom in as close as he could 426 00:27:26,880 --> 00:27:32,760 Speaker 3: on her face. The whole shoot was awkward, not as 427 00:27:32,800 --> 00:27:36,080 Speaker 3: awkward as this moment though. With hitch and Tippy in 428 00:27:36,160 --> 00:27:40,200 Speaker 3: her trailer, he was walking toward her, backing her against 429 00:27:40,200 --> 00:27:42,520 Speaker 3: the wall, just like he had backed her against the 430 00:27:42,560 --> 00:27:45,919 Speaker 3: wall during those five brutal days with the birds. But 431 00:27:46,080 --> 00:27:50,760 Speaker 3: now he was doing it alone. Now he was the bird. 432 00:27:51,800 --> 00:27:54,080 Speaker 3: He didn't say much, He just had that look in 433 00:27:54,119 --> 00:27:58,560 Speaker 3: his eye, not romance but not lust honestly, who knew 434 00:27:58,600 --> 00:28:01,200 Speaker 3: what was going through his head ahead That had created 435 00:28:01,200 --> 00:28:05,439 Speaker 3: some of the most unforgettable images in twentieth century cinema, 436 00:28:05,720 --> 00:28:10,440 Speaker 3: Images like that of Grace Kelly, unsuspectingly attacked from behind 437 00:28:10,520 --> 00:28:13,679 Speaker 3: in the film dial M for Murder, knocked flat on 438 00:28:13,720 --> 00:28:16,040 Speaker 3: her back, her would be killer on top of her, 439 00:28:16,280 --> 00:28:19,600 Speaker 3: trying to strangle her to death, her outstretched arm gesturing 440 00:28:19,680 --> 00:28:24,520 Speaker 3: wildly towards the camera. Joseph Cotton in Shadow of a Doubt, 441 00:28:24,560 --> 00:28:28,920 Speaker 3: the seemingly harmless uncle finally revealed to be a duplicitous sociopath, 442 00:28:29,240 --> 00:28:32,920 Speaker 3: a killer, struggling to overpower his teenage niece and throw 443 00:28:32,920 --> 00:28:36,359 Speaker 3: her from a moving train. Farley Granger in the opening 444 00:28:36,400 --> 00:28:41,240 Speaker 3: scene of Rope, diabolically fusing pleasure and pain, sex and violence, 445 00:28:41,240 --> 00:28:43,760 Speaker 3: getting off on choking the life out of another man. 446 00:28:44,640 --> 00:28:49,520 Speaker 3: And now Alfred Hitchcock closing in on a terrified Tippyhedron 447 00:28:49,560 --> 00:28:52,400 Speaker 3: in her trailer. Who knows if he was thinking of 448 00:28:52,400 --> 00:28:56,320 Speaker 3: those images those scenes as he got closer didn't matter. 449 00:28:56,880 --> 00:28:58,880 Speaker 3: All that mattered was that he had her right where 450 00:28:58,920 --> 00:29:05,240 Speaker 3: he wanted her, under his control, scared to death, but 451 00:29:05,360 --> 00:29:08,120 Speaker 3: she wasn't A naive audience of moviegoers that he could 452 00:29:08,120 --> 00:29:11,800 Speaker 3: play like a fiddle. So when Hitchcock reached out and 453 00:29:11,840 --> 00:29:14,640 Speaker 3: grabbed her, grabbed parts of her that she never wanted 454 00:29:14,680 --> 00:29:18,560 Speaker 3: him or anyone like him touching, she fought back. She 455 00:29:18,720 --> 00:29:20,920 Speaker 3: pushed him just like she pushed him in the limo, 456 00:29:21,120 --> 00:29:23,880 Speaker 3: only this time she had to push harder because the 457 00:29:23,880 --> 00:29:27,280 Speaker 3: more she resisted, the more he went after her. He 458 00:29:27,320 --> 00:29:31,640 Speaker 3: was relentless, but Tippy was fierce. She continued to swat 459 00:29:31,640 --> 00:29:33,760 Speaker 3: at him and squirm him out of his grasp until 460 00:29:33,760 --> 00:29:35,760 Speaker 3: at last he was out of breath and had to stop. 461 00:29:36,800 --> 00:29:40,080 Speaker 3: His beat red face was flush with anger and embarrassment, 462 00:29:40,480 --> 00:29:42,520 Speaker 3: and he told her that she should be more grateful 463 00:29:42,760 --> 00:29:46,440 Speaker 3: that she was nobody until he came along. I'll ruin you, 464 00:29:46,760 --> 00:29:50,560 Speaker 3: he said, you know what, Tippy replied, do what you 465 00:29:50,680 --> 00:29:55,920 Speaker 3: have to do. Tippy Hedrin proceeded to take her own advice. 466 00:29:56,520 --> 00:29:59,520 Speaker 3: She did what she had to do. She finished making 467 00:29:59,560 --> 00:30:02,959 Speaker 3: Marnie like the steady, reliable professional she was, Even though 468 00:30:03,040 --> 00:30:05,720 Speaker 3: Hitchcock never directly spoke to her again and only addressed 469 00:30:05,720 --> 00:30:09,320 Speaker 3: her through other crew members, Hitchcock gave up on the movie, 470 00:30:09,600 --> 00:30:13,120 Speaker 3: at least creatively. When it was released, it made even 471 00:30:13,200 --> 00:30:17,040 Speaker 3: less money than the birds. Tippy Hedron didn't care. She 472 00:30:17,160 --> 00:30:21,440 Speaker 3: got paid the same regardless. More importantly, she was whole. 473 00:30:22,120 --> 00:30:26,200 Speaker 3: She'd been pecked, clawed, bitten, and groped, and yet she 474 00:30:26,320 --> 00:30:46,920 Speaker 3: remained unbroken. There's a scene toward the end of Psycho 475 00:30:47,280 --> 00:30:50,920 Speaker 3: in which Lyla Crane played by Vera Miles, is desperately 476 00:30:50,920 --> 00:30:55,160 Speaker 3: searching for her sister Marian in Norman Bates's creepy gothic house. 477 00:30:55,760 --> 00:30:58,520 Speaker 3: Spoiler alert, Marian had been hacked to death in the 478 00:30:58,560 --> 00:31:00,640 Speaker 3: shower by Norman dressed up as his dead mother way 479 00:31:00,720 --> 00:31:03,960 Speaker 3: earlier in the film. As Lilah looks through the house 480 00:31:04,000 --> 00:31:07,440 Speaker 3: for his sister, the camera quickly shows us a turntable 481 00:31:07,600 --> 00:31:11,080 Speaker 3: and a copy of Beethoven's Arroyoka Symphony on the platter. 482 00:31:13,160 --> 00:31:16,920 Speaker 3: But why, why is this shot in the movie? What 483 00:31:16,960 --> 00:31:20,160 Speaker 3: does Beethoven have to do with Norman Bates? Is there 484 00:31:20,200 --> 00:31:23,040 Speaker 3: some deep symbolic connection that we're supposed to make between 485 00:31:23,080 --> 00:31:25,440 Speaker 3: this classical composition and the events of one of the 486 00:31:25,440 --> 00:31:29,959 Speaker 3: original slasher films. No, it's actually far more simple than that, 487 00:31:30,360 --> 00:31:32,520 Speaker 3: and it has to do with your gut reaction to 488 00:31:32,600 --> 00:31:35,840 Speaker 3: the visual image. Hitchcock wants your brain to take a 489 00:31:35,920 --> 00:31:38,920 Speaker 3: quick snapshot of that image, specifically of that word on 490 00:31:38,960 --> 00:31:42,400 Speaker 3: the record Arroyoka, a word that a quick glance looks 491 00:31:42,480 --> 00:31:45,920 Speaker 3: like erotic, and in fact he's betting on you to 492 00:31:45,960 --> 00:31:49,400 Speaker 3: misread it as erotic, which naturally you do, and which 493 00:31:49,440 --> 00:31:52,600 Speaker 3: immediately makes you think, Hey, what is really going on 494 00:31:52,680 --> 00:31:57,240 Speaker 3: between Norman Bates and his mother? Images, as Hitchcock knew 495 00:31:57,240 --> 00:32:02,480 Speaker 3: all too well, have incredible power. Of objects have incredible power. 496 00:32:02,960 --> 00:32:09,080 Speaker 3: And there are objects all throughout Hitchcock's movies, keys, locks, ties, eyeglasses, candles, 497 00:32:09,120 --> 00:32:12,760 Speaker 3: Beethoven records. Some of these things have true meaning. A 498 00:32:12,800 --> 00:32:16,920 Speaker 3: lot of them are just mcguffin's remember those, But regardless, 499 00:32:17,240 --> 00:32:20,840 Speaker 3: most of them are burned forever and are subconscious. That 500 00:32:21,080 --> 00:32:24,760 Speaker 3: was Hitchcock's power, As the French New Wave director Jean 501 00:32:24,800 --> 00:32:28,240 Speaker 3: MoU Gadar once said, there are perhaps ten thousand people 502 00:32:28,280 --> 00:32:31,560 Speaker 3: who haven't forgotten Saison's apples, but there must be a 503 00:32:31,680 --> 00:32:35,520 Speaker 3: billion spectators who will remember the cigarette letter of strangers 504 00:32:35,560 --> 00:32:40,040 Speaker 3: on a train. Gadar also said, quote Hitchcock succeeded where 505 00:32:40,080 --> 00:32:44,440 Speaker 3: Alexander the Great, Julius Caesar, Napoleon, and Hitler failed in 506 00:32:44,520 --> 00:32:48,800 Speaker 3: taking control of the universe. Unquote, be that as it 507 00:32:48,880 --> 00:32:52,320 Speaker 3: may Alfred Hitchcock himself failed when it came to taking 508 00:32:52,360 --> 00:32:57,080 Speaker 3: control of Tippy Hedrin after the Birds and after Marnie. 509 00:32:57,400 --> 00:33:00,200 Speaker 3: Tippy waited out the rest of that seven year contract 510 00:33:00,480 --> 00:33:02,640 Speaker 3: and then went on to have a steady, reliable film 511 00:33:02,640 --> 00:33:05,280 Speaker 3: and television career at the same time the Hitchcock's best 512 00:33:05,360 --> 00:33:10,600 Speaker 3: days had fallen behind it. Still, Hitchcock could never forget Tippy, 513 00:33:11,280 --> 00:33:14,440 Speaker 3: and he'd never have to, in large part because he 514 00:33:14,480 --> 00:33:17,040 Speaker 3: had a keepsake from his time with her, a totem 515 00:33:17,080 --> 00:33:20,480 Speaker 3: if you will, perhaps not exactly like the thing's real 516 00:33:20,560 --> 00:33:24,479 Speaker 3: life cycle ed geinkev bowls from human skulls and belts 517 00:33:24,520 --> 00:33:27,200 Speaker 3: made of human nipples, because Alfred Hitchcock was not a 518 00:33:27,280 --> 00:33:30,400 Speaker 3: murderer or a grave robber, but he was a collector. 519 00:33:31,280 --> 00:33:34,080 Speaker 3: If you were to walk through his house, that seven bedroom, 520 00:33:34,160 --> 00:33:37,400 Speaker 3: five bathroom English style nestled in the trees of bel air, 521 00:33:37,800 --> 00:33:41,800 Speaker 3: past the mahogany grand piano, past the Chinese terra cotta 522 00:33:41,840 --> 00:33:45,520 Speaker 3: figures in the Salvador Dolly sketch, the three Paul Cleet paintings, 523 00:33:45,560 --> 00:33:48,080 Speaker 3: that one Picasso which turned out to be a fake. 524 00:33:48,120 --> 00:33:50,040 Speaker 3: But I digress, And if you made your way into 525 00:33:50,080 --> 00:33:54,200 Speaker 3: Hitchcock's private office. There on his desk you would find 526 00:33:54,240 --> 00:33:58,800 Speaker 3: an object, a real object, something called a life mask, 527 00:33:59,320 --> 00:34:03,600 Speaker 3: a rendering of Tippy Hedron's face made from wax or plaster, 528 00:34:04,120 --> 00:34:06,440 Speaker 3: one that Hitchcock was able to make because he told 529 00:34:06,480 --> 00:34:08,960 Speaker 3: her it was needed as part of a makeup routine. 530 00:34:09,440 --> 00:34:12,600 Speaker 3: And that was bullshit, psychotic bullshit. By the way, there 531 00:34:12,640 --> 00:34:15,200 Speaker 3: was only one reason why the life maask was made. 532 00:34:15,600 --> 00:34:18,080 Speaker 3: It was made so that it could sit on Hitchcock's 533 00:34:18,160 --> 00:34:22,200 Speaker 3: desk forever, so that every day, long after Tippy Hedron 534 00:34:22,280 --> 00:34:25,239 Speaker 3: was out of his life, Alfred Hitchcock could stare at 535 00:34:25,280 --> 00:34:29,360 Speaker 3: Tippy Heedron's face, at Tippy Hedron's eyes, like she was 536 00:34:29,480 --> 00:34:36,080 Speaker 3: really there, which of course she wasn't. The next time 537 00:34:36,080 --> 00:34:39,160 Speaker 3: Tippy Hedron later actual eyes on Alfred Hitchcock, it was 538 00:34:39,280 --> 00:34:44,040 Speaker 3: nineteen eighty at Hitchcock's funeral, dead from kidney failure at 539 00:34:44,080 --> 00:34:47,239 Speaker 3: the age of eighty. Some were surprised to see her 540 00:34:47,239 --> 00:34:51,239 Speaker 3: there given her history with her benefactor turned tormentor. As 541 00:34:51,280 --> 00:34:54,120 Speaker 3: she wrote in her memoir, she had long since healed 542 00:34:54,160 --> 00:34:56,600 Speaker 3: and moved on from her trauma and was there to 543 00:34:56,680 --> 00:34:59,879 Speaker 3: quote honor him personally as an unparalleled teacher in star 544 00:35:00,160 --> 00:35:02,919 Speaker 3: maker who once believed in a former model who never 545 00:35:03,000 --> 00:35:07,440 Speaker 3: acted a day in her life. But whatever she said, 546 00:35:07,719 --> 00:35:10,640 Speaker 3: what Tippy Hedron was truly honoring by attending out for 547 00:35:10,719 --> 00:35:15,440 Speaker 3: Hitchcock's funeral was her own fortitude. Despite the best efforts 548 00:35:15,480 --> 00:35:18,200 Speaker 3: of a predator who had all the power on his side, 549 00:35:18,680 --> 00:35:23,960 Speaker 3: Hitchcock had not broken her. In the end, she was 550 00:35:24,000 --> 00:35:28,759 Speaker 3: the victor. It's a triumphant story, one that ought to 551 00:35:28,800 --> 00:35:35,680 Speaker 3: be in pictures. I'm Jake Brennan in This is hollywood Land. 552 00:35:48,080 --> 00:35:51,160 Speaker 3: Hollywood Land was created by Years Truly and is produced 553 00:35:51,200 --> 00:35:55,080 Speaker 3: in partnership with Double Elvis. Follow like, rate and review 554 00:35:55,080 --> 00:35:57,360 Speaker 3: hollywood Land wherever you get your podcasts, and get in 555 00:35:57,400 --> 00:36:00,719 Speaker 3: touch with us on social media at double Elvis. If 556 00:36:00,719 --> 00:36:02,880 Speaker 3: you like Hollywoodland, check out my other show, the award 557 00:36:02,960 --> 00:36:05,839 Speaker 3: winning Disgraceland, which looks at the world of music through 558 00:36:05,840 --> 00:36:08,520 Speaker 3: the lens of true crime. Just search for Disgraceland or 559 00:36:08,520 --> 00:36:16,839 Speaker 3: wherever you get your podcasts. There's a lab