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Speaker 1: Mmm, Hello friends, I'm Robert Evans and this is once

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Speaker 1: again Behind the Bastards, the show where we tell you

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Speaker 1: everything you don't know about the very worst people in

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Speaker 1: all of history. Now, my co host today, who was

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Speaker 1: going in cold in this Tale of a Bastard, is Abta.

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Speaker 1: How are you doing, man, I'm great. Thanks for having me.

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Speaker 1: And you are with the podcast Gone Riffin on Starburns Audio. Yes,

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Speaker 1: I am second season, that's right, and we're every Wednesday.

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Speaker 1: You can find us and wherever you get podcasts. And

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Speaker 1: you are also generally you would say, a creative, a

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Speaker 1: story consultant or whatnot in the industry so to speak. Yes,

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Speaker 1: mostly for animation. I consult on my friends shows and

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Speaker 1: before their shows they have me come in and kind

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Speaker 1: of like I just know every TV show and animation,

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Speaker 1: Like I'm really into media or a lot of stuff.

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Speaker 1: So it's like I can be like, well that's too

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Speaker 1: much like this, or maybe try that, and it's like

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Speaker 1: helpful to people. And you are a big fan of

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Speaker 1: Today's Big Bastard. Oh yeah, Alfred Hitchcock honestly, without question,

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Speaker 1: one of the greatest directors. Yeah, there's no doubting that,

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Speaker 1: Like there's no underplaying the guy's influences. Sheer um versatility

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Speaker 1: is really amazing. Yeah, it's it's he's it was a

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Speaker 1: remarkable director with a remarkable impact. And unlike most of

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Speaker 1: the bastards we talked about on our show, guys like Hitler, Stalin, Saddam,

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Speaker 1: Steven Seagal, you know, these people are monsters who left

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Speaker 1: the world with nothing but misery, pain, death, and a

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Speaker 1: couple of mediocre nineties action movies. Alfred Hitchcock is a

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Speaker 1: much more complicated character to talk about when we're sort

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Speaker 1: of parsing out his legacy. And so the question that

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Speaker 1: that you and I have to answer today is, in essence,

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Speaker 1: was it worth? It was what we as a society

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Speaker 1: got out of Hitchcock worth what the man did to

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Speaker 1: some of the people around him. I mean, I hope so,

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Speaker 1: but I don't know exactly what we're gonna find out. Yeah,

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Speaker 1: and there probably won't be a clean answer, but you know,

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Speaker 1: it helps to set up a question like that at

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Speaker 1: the start of the podcast, even if we never address

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Speaker 1: it again, and and you know, hopefully the audience won't notice.

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Speaker 1: I shouldn't have brought that up, just rolled on through it.

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Speaker 1: But right now, we're committed together. So we're locked in

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Speaker 1: arm in arm. Let's tiptoe arm in arm too oblivion.

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Speaker 1: I don't know, I should just move on to the story.

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Speaker 1: Let's do it. Alfred Hitchcock was born on August eighteen nine,

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Speaker 1: So he's a nineties kid. I'm I'm an eighties nineties kid. Yeah,

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Speaker 1: I'm an eighties nineties kid, but mostly nineties. Yeah. So

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Speaker 1: already we've got a lot in common with Hitchcock. I'm

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Speaker 1: sure his dad's side of the family was mostly a

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Speaker 1: bunch of small business owners, and his mom's side of

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Speaker 1: the family were laborers, you know, So he comes from

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Speaker 1: a pretty working class background, Cockney background. So like, yeah,

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Speaker 1: Alfred's dad, William, moved the family into the lucrative grocery

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Speaker 1: store owning trade when he was just a baby. The

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Speaker 1: family lived on premises at the greens grocers they worked at,

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Speaker 1: and in general seemed to have lived ideal lives as quiet,

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Speaker 1: productive subjects of the crown. You know, pretty pretty normal,

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Speaker 1: you know, turn of the century British family. So while

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Speaker 1: family circumstances were comfortable enough, father William was a strict disciplinarian.

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Speaker 1: Alfred was the youngest of three children, and his dad

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Speaker 1: seems to have singled him out for a particular ire.

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Speaker 1: Throughout his life, Hitchcock was fond of relating this story,

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Speaker 1: and I'm going to quote Alfred here. When I was

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Speaker 1: no more than six years of age, I did something

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Speaker 1: that my father considered worthy of reprimand he sent me

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Speaker 1: to the local police station with a note. The officer

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Speaker 1: and duty read it and locked me in a jail

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Speaker 1: cell for five minutes, saying this is what we do

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Speaker 1: to naughty boys. I have ever since gone to any

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Speaker 1: links to avoid arrest in confinement. To you young people,

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Speaker 1: my messages stay out of jail. Now, it's debatables to

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Speaker 1: whether or not that story is true. I do want

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Speaker 1: to believe that there was a time when you could

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Speaker 1: just whimsically send your kid to the police station and

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Speaker 1: have him locked up for a couple of minutes. My

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Speaker 1: dad almost did it to me when he caught me

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Speaker 1: with Pott. Really he threatened to call the police. You know,

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Speaker 1: so I've been there, But that's a little like now nowadays.

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Speaker 1: I don't think most parents would do that because you'd

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Speaker 1: be like, I mean, cops, you people. Sometimes Well, my

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Speaker 1: dad was like a fanatical Muslim, so yeah. Yeah, he

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Speaker 1: was against any kind of drugs and that's a complicated

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Speaker 1: police relationship there too. Yeah. Yeah. And Hitchcock's family would

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Speaker 1: not have had that kind of you know, it was

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Speaker 1: the eighteen nineties. They were all British and very uh

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Speaker 1: Cockney Caucasians. Yeah, and they probably trusted the police more

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Speaker 1: than we do. It was a different era. Although this

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Speaker 1: does seem to have given Hitchcock kind of a lifetime

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Speaker 1: hatred of police officers and all authority figures, which is

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Speaker 1: that we share that, yes, it ditto, ditto, uh, And

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Speaker 1: it's also a pretty ever present theme in his work.

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Speaker 1: You know, the police generally are not portrayed as particularly

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Speaker 1: on the ball in hitchcock films, and in a way

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Speaker 1: they represent sort of like an opposition. Yeah, yeah, and

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Speaker 1: that seems to have been his very much attitude. He

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Speaker 1: stayed in a number of interviews actually that it must

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Speaker 1: be said to my credit that I never wanted to

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Speaker 1: be a policeman, which is like the polite nineteen fifties

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Speaker 1: equivalent of having a C. A B. Tattooed or stuck

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Speaker 1: on the back of your shirt or something like. He

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Speaker 1: he definitely had a little bit of that punk attitude going,

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Speaker 1: I can imagine. Yeah. Donald Spotto, who were the biography

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Speaker 1: The Dark Set of Genius, notes that it's impossible to

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Speaker 1: con firm or deny hitchcock story about being locked in

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Speaker 1: a cell for five minutes. Whatever the case, it's telling

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Speaker 1: that he would go back to the story repeatedly in

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Speaker 1: interviews and definitely says something about him as a person.

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Speaker 1: Hitchcock grew up into an anxious child. He did not

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Speaker 1: deal well with being left alone and was prone to

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Speaker 1: flights of wild paranoia. Quote. I remember when I was

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Speaker 1: five or six. It was a Sunday evening, the only

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Speaker 1: time my parents did not have to work. They put

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Speaker 1: me to bed and went to Hyde Park for a stroll.

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Speaker 1: They were sure I would be asleep until they returned.

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Speaker 1: But I woke up, called out, and no one answered,

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Speaker 1: nothing but night all around me, shaking. I got up,

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Speaker 1: wandered around the empty, dark house, and finally, arriving in

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Speaker 1: the kitchen, found a piece of cold meat that I

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Speaker 1: ate while drying my tears. Yeah it's a rough story,

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Speaker 1: oh man. Yeah, Yeah, And so far I'm with him, Yeah,

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Speaker 1: so far with him. He's not nothing, nothing like he's

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Speaker 1: just a little kid at this But he's struggling. He's struggling,

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Speaker 1: and he he begins to binge eat uh. And apparently

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Speaker 1: his favorite foods were fried fish and bacon, which checks

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Speaker 1: out with the British stuff, very British, that is British. Yeah,

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Speaker 1: a lot of fried fish, a lot of bacon. He

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Speaker 1: later recalled that his goal with this was to build

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Speaker 1: what he described as an omer of fat to protect

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Speaker 1: him from the world. It's kind of awesome, Yeah, it's

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Speaker 1: it's kind of making it your own. Um. As a

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Speaker 1: young man, Hitchcock's favorite hobby involved studying the timetables of

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Speaker 1: the brand new electronic trains that had just come to London. Uh.

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Speaker 1: He was seven years old when the London area got

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Speaker 1: its first electronic tram and this was apparently something of

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Speaker 1: like a local hobby at the time. It's just obsessing

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Speaker 1: over train schedules and like betting how late or early

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Speaker 1: a train would be. It was a boring time, like

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Speaker 1: nineteen o seven, there's not a lot study. It's that

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Speaker 1: or Dickens Well, it's kind of like model building. Yeah,

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Speaker 1: I feel like this is the nineteen o six version.

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Speaker 1: Like the people who would have been doing that in

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Speaker 1: nineteen o six grew up reading Star Wars Extended Universe

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Speaker 1: novels in the nineteen nineties. Oh yeah, yeah, to the Empire. Yeah,

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Speaker 1: it's something cool and new and futuristic, so you obsess

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Speaker 1: over it for a while because we we didn't get

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Speaker 1: Star Wars sequel, so that was the closest we got.

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Speaker 1: The closest we got it was our electronic train schedules.

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Speaker 1: I think I was made fun of. Ye yes, yes,

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Speaker 1: I would say it made me a stronger person. But

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Speaker 1: it made me better. Well, it did make me better. Yeah.

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Speaker 1: Uh and damn, I'm gonna guess maybe he didn't take

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Speaker 1: ship for the electronic train thing. That might have just

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Speaker 1: been so cool at the time. But he was probably

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Speaker 1: ahead of the curve. He was probably ahead of the

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Speaker 1: curve that is inforced. Hitchcock went to high school or

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Speaker 1: primary school, yes they call it. It's Saint Ignatious, which

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Speaker 1: was a Catholic school that took a traditionally and expectedly

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Speaker 1: Catholic attitude towards discipline. Kids were whipped on their knuckles

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Speaker 1: for being bad, but discipline there was not the sort

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Speaker 1: of ad hoc affair that it's usually portrayed as being

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Speaker 1: in like movies about Catholic schools, kids would be sentenced

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Speaker 1: by their teachers for particular acts of misbehavior, and they'd

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Speaker 1: have to schedule time to go get whipped by their

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Speaker 1: school's disciplinarian. I actually grew up in a school like this. Yeah,

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Speaker 1: my elementary school in Oklahoma had corporal punishment and it

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Speaker 1: was all your teachers would sentence you, but the principal

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Speaker 1: had to do all of the paddling. So's the movie?

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Speaker 1: Is it Taps? I don't know, were there in the

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Speaker 1: military school and they take over oh ship? No, I

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Speaker 1: an't see that. I don't know if it's Taps. It's

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Speaker 1: like it's it's something, but it's it's the similar thing

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Speaker 1: where the kids are whipped and then one day they

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Speaker 1: sort of like overrule the teachers. Well, we didn't ever

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Speaker 1: overthrow our teachers. It was more like you'd schedule a

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Speaker 1: thing with the principle and he'd hit you in the

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Speaker 1: butt like five times with the paddle, and then he

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Speaker 1: signed the paddle. Yeah. Anyway, So I don't know, Hitchcock

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Speaker 1: and I have this in common. Um, it wasn't very

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Speaker 1: scary at our school. It was almost more of a joke.

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Speaker 1: But Hitchcock this seemed to really leave an impact on him,

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Speaker 1: and it seemed to be something that he related to

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Speaker 1: with horror, and it almost seems like how old was

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Speaker 1: he again, how he would have been, you know, twelve thirteen,

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Speaker 1: That's that's really scary. And it seems like what really

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Speaker 1: had an impact on him was the sort of inevitable

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Speaker 1: nature of once you get sentenced, like you have to

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Speaker 1: go schedule the time. It doesn't happen immediately, so you've

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Speaker 1: just got this dread approaching, which is again something that's

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Speaker 1: really present in his movies, Like he's the master of

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Speaker 1: suspense exactly. So like it seems like you can kind

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Speaker 1: of see these little bits of him getting programmed as

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Speaker 1: he's young by sort of these experiences of his best

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Speaker 1: methods and film in his filmmaking is where the audience

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Speaker 1: knows something's coming but the main character doesn't. Yeah, and

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Speaker 1: he's in a way that's similar. Yeah, he likes to

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Speaker 1: torment you with he learned that, and yeah, here's what

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Speaker 1: he said about it later. Quote. The method of punishment,

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Speaker 1: of course, was highly dramatic, because the form master would

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Speaker 1: tell the pupil of his wrongdoing and the people would

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Speaker 1: have to go before to the disciplining priest. It was

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Speaker 1: left to the people to decide when he would go

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Speaker 1: for the punishment, and of course he would keep putting

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Speaker 1: it off, and then at the end of the day

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Speaker 1: he would go to a special room where there would

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Speaker 1: be a priest or a lay brother who would administer

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Speaker 1: the punishment, like in a minor way going for execution.

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Speaker 1: I think it was a bad thing. It was not

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Speaker 1: like they give the poison can in other schools. This

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Speaker 1: was a rubber strap. If by chance you had gone

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Speaker 1: as bad as to be sentenced too, shall we say twelve,

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Speaker 1: you would have to spread it over two days because

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Speaker 1: each hand could only take three strokes as it became numb.

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Speaker 1: So it's I was I was actually hit by my mom,

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Speaker 1: not my dad. And she would do that where she

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Speaker 1: would count during the day how many hits I would get. Yeah,

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Speaker 1: and if I was really bad, she'd use like a

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Speaker 1: like a spatula. Yeah, and then this was on my bomb. Yeah.

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Speaker 1: But that's like horrifying, like that knowledge, that knowledge that

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Speaker 1: like you got. I think the most was seventeen. We're

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Speaker 1: coming my way, and yeah, there it seems like it

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Speaker 1: was twelve for him, but like, yeah, that's that clearly

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Speaker 1: left an impact on this guy, to the same idea

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Speaker 1: that it is terrifying. Yeah, yeah, exactly and makes you

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Speaker 1: hate your mother. Yeah, well exactly. I don't think Hitchcock

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Speaker 1: grew up super fond of authority figures partly as a

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Speaker 1: result of this and as a result of his Yeah,

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Speaker 1: so of course we're seeing the man sort of come

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Speaker 1: together here as a child. Spotto, also, his biographer, also

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Speaker 1: thinks that this had a major impact on the content

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Speaker 1: of his movies. Hitchcock was described at the time by

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Speaker 1: other kids in his primary school as being different from

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Speaker 1: the beginning. One of his schoolmates later described him as

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Speaker 1: a lonely, fat boy who smiled and looked at you

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Speaker 1: as if he could see straight through you. Jesus. Yeah,

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Speaker 1: so he's I mean, that's a movie right there, that is. Yeah,

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Speaker 1: he sounds like he's a little bit children of the

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Speaker 1: Corn or something. Yeah. Yeah, I was just about to say,

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Speaker 1: it's kind of like that. Yeah. Uh. Now. Mr and

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Speaker 1: Mrs Hitchcock called their son Fred. He hated the name.

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Speaker 1: He also hated his nickname Cocky, which he received during

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Speaker 1: his time in Catholic school. What with the news today

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Speaker 1: when you hear that he got nicknamed Cocky at Catholic school.

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Speaker 1: It is natural to assume the worst, but actually it's

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Speaker 1: a little bit less messed up than it might otherwise be.

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Speaker 1: I don't really understand where Cocky came from this nickname,

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Speaker 1: so I'm going to read that the story of classmate

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Speaker 1: gave his biographer about how he got his nickname. Cocky.

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Speaker 1: Hitchcock became a notorious purloiner of eggs from the priest's

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Speaker 1: henhouse on the forbidden side of the Presbytery garden. He

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Speaker 1: loved to steal the eggs and throw them on the

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Speaker 1: windows of the Jesuit residence. When an angry priest ran

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Speaker 1: out to managed to know who had dirtied the glass,

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Speaker 1: Cocky offered an innocent look, glanced at the sky, shrugged,

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Speaker 1: and said, I don't know, father, it looks like the

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Speaker 1: birds have been flying overhead. That's how he got the nickname,

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Speaker 1: even to junior boys of Cocky. Now this egg's story

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Speaker 1: is particularly interesting to me in light of another Hitchcock

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Speaker 1: quote I found in an article on the Telegraph quote,

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Speaker 1: I'm frightened of eggs, worse than frightened. They revolt me,

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Speaker 1: that white round thing without any holes. Have you ever

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Speaker 1: seen anything more revolting in an egg yolk breaking and

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Speaker 1: spilling its yellow liquid. Blood is jolly red, but egg

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Speaker 1: yolk is yellow, revolting. I've never tasted it. Oh, that's cool.

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Speaker 1: That's so weird. It is like the coolest, so weird,

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Speaker 1: but it's so cool. It's like kind of like I've

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Speaker 1: never heard anyone like say that about an egg. It

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Speaker 1: blows my mind. Actually, he definitely. That's what makes him

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Speaker 1: interesting is his perspective is so strange. Yeah, you know,

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Speaker 1: like right there you can see it. He's clearly coming

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Speaker 1: at the world from a different angle than everybody else's.

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Speaker 1: Even his lie about like a normal kid would lie,

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Speaker 1: like somebody else was throwing eggs at the priest's house.

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Speaker 1: He's like, no, no, no, the birds were flying overhead

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Speaker 1: and they blaming it on the birds. Even like age twelve,

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Speaker 1: he didn't like birds back then. No, no, never liked birds.

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Speaker 1: I kind of don't trust him either, because you can't

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Speaker 1: know what you don't know what they're saying, and they're

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Speaker 1: definitely planning something. Oh, all that chirping, there's like a

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Speaker 1: there's like a plot. He tried to warn us. Now,

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Speaker 1: Hitchcock preferred to use his own chosen nickname hitch Uh,

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Speaker 1: and he preferred that too Cocky or Fred or tragically

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Speaker 1: fred cock Uh. That would have been what I would

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Speaker 1: have picked, but he preferred hitch. Hitch was an odd kid,

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Speaker 1: and from the beginning he was insecure about his weight.

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Speaker 1: But if you're picturing young Hitchcock is a troubled, bullied loner,

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Speaker 1: well that might not quite be fair. Primary school seems

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Speaker 1: to be where hitch first ignited his love of pranking people,

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Speaker 1: and he did this in a way that I think

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Speaker 1: was definitely bullying. I'm going to read a quote now

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Speaker 1: from the Dark Side of Genius. In the early afternoon,

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Speaker 1: between a lecture class and a quiet study time, the

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Speaker 1: boys were free to gather in the schoolyard near the church. Gould,

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Speaker 1: who was one of his classmates then nine, was suddenly

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Speaker 1: yanked away from his peers by Hitchcock in an accomplice,

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Speaker 1: and dragged off to another forbidden area, the basement boiler

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Speaker 1: room of the school. Before he could cry out or struggle,

295
00:13:40,800 --> 00:13:43,000
Speaker 1: not much use in any case against two bigger boys,

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Speaker 1: Gould was bound hand and foot. Once he was immobilized,

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Speaker 1: he was prey to a carefully planned psychological torture that

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Speaker 1: could have ended disastrously. His trousers were pulled down and

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Speaker 1: Hitchcock quickly stepped behind him. There was the sound of

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Speaker 1: a scratching noise, and the two bullies raced up the stairs.

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Speaker 1: Young Gould must have thought he was attacked by a

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Speaker 1: firing squad. At one the sound of gunfire exploded, But

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00:14:01,840 --> 00:14:03,760
Speaker 1: it was a string of firecrackers that had been pinned

304
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Speaker 1: to his underwear and ignited. It was a good job

305
00:14:06,240 --> 00:14:08,920
Speaker 1: I wasn't burned, could remembered. I stood there shaking and

306
00:14:08,960 --> 00:14:11,200
Speaker 1: crying for I don't know how long, until someone finally

307
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Speaker 1: found me and set me free. Of course, I was

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00:14:13,280 --> 00:14:15,120
Speaker 1: too frightened to tell anyone who had done it. I

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00:14:15,160 --> 00:14:17,440
Speaker 1: was afraid of recrimination, and they knew it. I guess

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Speaker 1: you could say Alfred Hitchcock had a sense of the

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Speaker 1: maccab even at school. Jesus, Yeah, that's kind of going

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00:14:22,520 --> 00:14:24,640
Speaker 1: a little far right. I mean, I think I think

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Speaker 1: I used to join in with the popular kids teasing.

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Speaker 1: We all did nothing that like just horrific. Like tying

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Speaker 1: a kid up and penning firecrackers to his underpants. Is

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00:14:37,720 --> 00:14:41,840
Speaker 1: that's a step, That's nuts, That's a step beyond. I mean, like,

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00:14:41,880 --> 00:14:44,120
Speaker 1: if anything's going to get you into film school, yeah,

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Speaker 1: you can tell that story. And yeah, if this was

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00:14:47,280 --> 00:14:48,920
Speaker 1: a movie, Gould would have been the one who became

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Speaker 1: a great director. But I know, isn't it funny one

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Speaker 1: of the tormentors became the director. Well, if you're gonna

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Speaker 1: be a heart like, I'm gonna bet Eli Roth was

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00:14:58,640 --> 00:15:01,760
Speaker 1: pretty rough to be in high school. Oh and David Lynch,

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Speaker 1: Oh my god, them torturing insects. We should see if

325
00:15:06,880 --> 00:15:14,240
Speaker 1: there's some kids missing from David Lynch's to go after now.

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Speaker 1: As a teenager, Alfred Hitchcock grew enthralled with crime literature,

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Speaker 1: starting with the works of Arthur Conan Doyle and moving

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Speaker 1: on to what were essentially early true crime books accounts

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Speaker 1: of actual criminal cases and investigations. Spato says Hitchcock came

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Speaker 1: to think of the murderers he studied as his heroes

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Speaker 1: rather than they're victims with the people who caught them.

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Speaker 1: When he did focus on details of the victims experience,

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Speaker 1: the thing that interested him most was how much they'd suffered.

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Speaker 1: Alfred left school in nineteen thirteen when he was fourteen,

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Speaker 1: and he spent the next several years doing a mix

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Speaker 1: of odd jobs, artistic experimentation, and occasional rough attempts at

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00:15:45,360 --> 00:15:48,560
Speaker 1: some kind of secondary education. He attended many plays and

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00:15:48,600 --> 00:15:51,320
Speaker 1: grew enthralled by the young art of filmmaking, but he

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00:15:51,360 --> 00:15:53,160
Speaker 1: had no time at the moment to consider that as

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Speaker 1: a career option. On December twelve, his dad died. Hitchcock

341
00:15:56,680 --> 00:15:59,280
Speaker 1: was only fifteen and suddenly found himself caretaker to a

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Speaker 1: very demand mother. Quote my mother, maybe a little bit.

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Speaker 1: My mother was meticulous about our home in her person.

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Speaker 1: She never left the house without presenting herself at her best,

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00:16:09,920 --> 00:16:13,000
Speaker 1: her posture, her demeanor, her dress, her shoes perfectly polished,

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00:16:13,160 --> 00:16:15,680
Speaker 1: a well kept handbag inside as well as outside, and

347
00:16:15,720 --> 00:16:19,160
Speaker 1: gloves whenever possible. Now, while he was still at school

348
00:16:19,200 --> 00:16:21,480
Speaker 1: and as a young man, Hitchcock's mother expected him to

349
00:16:21,480 --> 00:16:24,359
Speaker 1: come by her bedside every evening and describe an excruciating

350
00:16:24,400 --> 00:16:26,760
Speaker 1: detail what he'd done that day. When he was married,

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00:16:26,880 --> 00:16:29,400
Speaker 1: his mom accompanied him and his wife on vacations from

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Speaker 1: the time they got married up until her death. Now,

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00:16:32,360 --> 00:16:36,080
Speaker 1: unfortunately there's not as much detail on their relationship as

354
00:16:36,120 --> 00:16:37,640
Speaker 1: I like, or at least I was not able to

355
00:16:37,720 --> 00:16:39,680
Speaker 1: find it. But every detail I was able to find

356
00:16:39,680 --> 00:16:42,240
Speaker 1: makes it seem like it's a little bit weird. Yeah,

357
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Speaker 1: she was a bit of a demanding lady, right, especially

358
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Speaker 1: since he kind of took over for his dad. That's

359
00:16:47,760 --> 00:16:50,920
Speaker 1: kind of weird. Yeah, almost like you're my new husband. Yeah,

360
00:16:51,000 --> 00:16:52,600
Speaker 1: you know what I mean, Like there's like that creepy

361
00:16:52,600 --> 00:16:54,800
Speaker 1: thing happening well, and it's it's kind of what you

362
00:16:54,880 --> 00:16:57,840
Speaker 1: have happening at in Psycho where you know they run

363
00:16:57,920 --> 00:17:00,560
Speaker 1: this uh this, I mean she I don't think he's

364
00:17:00,920 --> 00:17:03,080
Speaker 1: Bates is taking it well, okay, because his dad gets murdered,

365
00:17:03,160 --> 00:17:07,119
Speaker 1: right and Psycho I don't remember that detail, but I

366
00:17:07,240 --> 00:17:09,880
Speaker 1: I it is sort of a controlling mother and it's

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Speaker 1: sort of like son that has to manage the business,

368
00:17:14,000 --> 00:17:17,320
Speaker 1: and he's almost like the face Yeah, while she just hides, Yeah,

369
00:17:17,440 --> 00:17:19,520
Speaker 1: while she just hides. It's one of those things where

370
00:17:19,600 --> 00:17:22,240
Speaker 1: like it is easy if you're like going back into

371
00:17:22,240 --> 00:17:24,280
Speaker 1: someone's life after the point and trying to like come

372
00:17:24,320 --> 00:17:26,639
Speaker 1: up with things that might have inspired their art to

373
00:17:26,680 --> 00:17:28,840
Speaker 1: pick on stuff like this, But at the same time,

374
00:17:28,880 --> 00:17:31,200
Speaker 1: like you really do see some of this coming together.

375
00:17:31,240 --> 00:17:33,280
Speaker 1: Even in that line that he was always more sympathetic

376
00:17:33,320 --> 00:17:36,520
Speaker 1: to murderers because Psycho was very much Norman. Yeah, it's

377
00:17:36,520 --> 00:17:39,800
Speaker 1: from Norman's side of things. But I was also I

378
00:17:39,840 --> 00:17:41,760
Speaker 1: think in the movie, I don't think they even mentioned

379
00:17:41,800 --> 00:17:44,399
Speaker 1: the father. Yeah, I don't, you know, I don't remember

380
00:17:44,440 --> 00:17:46,680
Speaker 1: off the top of my head. It's been because since

381
00:17:46,680 --> 00:17:49,800
Speaker 1: I've seen it. But yeah, I mean I definitely alone. Yeah,

382
00:17:49,840 --> 00:17:52,720
Speaker 1: they're both alone. Yeah, and it it does seem like

383
00:17:52,800 --> 00:17:55,000
Speaker 1: he had that kind of not obviously to that extent,

384
00:17:55,040 --> 00:17:57,760
Speaker 1: because Hitchcock very much lived his own life after a while.

385
00:17:57,800 --> 00:18:01,080
Speaker 1: But there's some there's some weirdness going on. There was

386
00:18:01,160 --> 00:18:02,919
Speaker 1: she with him all the way with with Alma, with

387
00:18:03,000 --> 00:18:05,159
Speaker 1: his first wife, Yeah, yeah, with Alma, Yeah, it was

388
00:18:05,680 --> 00:18:08,879
Speaker 1: that was that relationship so well, the family business provided

389
00:18:08,920 --> 00:18:11,200
Speaker 1: some revenue. Hitchcock was forced to get a regular job

390
00:18:11,200 --> 00:18:12,879
Speaker 1: in order to do his part in taking care of

391
00:18:12,920 --> 00:18:14,640
Speaker 1: his mother, which seemed to be most of the part,

392
00:18:14,760 --> 00:18:17,480
Speaker 1: Like at least the stories I've read really emphasized Hitchcock

393
00:18:17,600 --> 00:18:19,280
Speaker 1: was the one taking care of them, even though he

394
00:18:19,400 --> 00:18:22,239
Speaker 1: was the youngest. Uh. In nineteen fifteen, he found a

395
00:18:22,280 --> 00:18:25,639
Speaker 1: gig at the Henley Telegraph and Cable Company. UH. He

396
00:18:25,680 --> 00:18:28,840
Speaker 1: appears to have instantly impressed his supervisor and was transferred

397
00:18:28,840 --> 00:18:32,720
Speaker 1: to the advertising department. So clearly somebody recognizes this kid

398
00:18:32,760 --> 00:18:36,400
Speaker 1: ought to be doing something that, like, is presenting our

399
00:18:36,440 --> 00:18:38,800
Speaker 1: business to people, Like he recognized this guy's got a

400
00:18:38,840 --> 00:18:41,280
Speaker 1: creative gift. Yeah, it seems like it was immediately obvious

401
00:18:41,359 --> 00:18:43,520
Speaker 1: to the people. He had the he had the eye.

402
00:18:44,000 --> 00:18:46,040
Speaker 1: So Hitchcock spent most of his time at the Henley

403
00:18:46,040 --> 00:18:48,960
Speaker 1: Telegraph and Cable Company drawing, laying out ad brochures, and

404
00:18:48,960 --> 00:18:52,040
Speaker 1: he focused mostly on visual presentation, how to deliver a

405
00:18:52,080 --> 00:18:54,760
Speaker 1: message to an audience in the most impactful way. One

406
00:18:54,800 --> 00:18:56,600
Speaker 1: of his first jobs was to make an ad to

407
00:18:56,640 --> 00:19:00,600
Speaker 1: convince churches and other institutions to install electrical lights. Quote

408
00:19:00,600 --> 00:19:03,359
Speaker 1: from Hitchcock, I'd write church lighting on the cover of

409
00:19:03,359 --> 00:19:05,720
Speaker 1: a brochure and then draw two candles and there would

410
00:19:05,720 --> 00:19:08,760
Speaker 1: be darkness all around, suggesting that church lighting by candles

411
00:19:08,800 --> 00:19:11,640
Speaker 1: alone won't be enough to light any service. So he's

412
00:19:11,680 --> 00:19:14,200
Speaker 1: already playing with light. He's already like, we can see

413
00:19:14,320 --> 00:19:16,200
Speaker 1: the evolution of this thing that's going to go into

414
00:19:16,440 --> 00:19:19,439
Speaker 1: being his great talent. So Hitchcock and his family weathered

415
00:19:19,440 --> 00:19:21,600
Speaker 1: the Great War better than most families in England. He

416
00:19:21,640 --> 00:19:23,159
Speaker 1: worked hard, and he moved up the ranks of the

417
00:19:23,160 --> 00:19:25,320
Speaker 1: ad world By the time he was twenty, he was

418
00:19:25,320 --> 00:19:28,119
Speaker 1: still a virgin and by his own description, and uncommonly

419
00:19:28,200 --> 00:19:31,280
Speaker 1: attractive young man. But he was ambitious and talented, and

420
00:19:31,320 --> 00:19:33,440
Speaker 1: when he saw that an American film company was about

421
00:19:33,440 --> 00:19:35,560
Speaker 1: to open a studio in England, he knew he had

422
00:19:35,600 --> 00:19:38,120
Speaker 1: to be a part of it. Quote he quickly found

423
00:19:38,160 --> 00:19:39,960
Speaker 1: out what film they were planning, and with the assistance

424
00:19:39,960 --> 00:19:42,680
Speaker 1: of Henley's advertising manager, who helped him arrange a portfolio

425
00:19:42,720 --> 00:19:44,280
Speaker 1: and with whom he agreed to split any fee, he

426
00:19:44,320 --> 00:19:48,080
Speaker 1: went along to the Islington offices. Uh So, Hitchcock presents

427
00:19:48,080 --> 00:19:50,840
Speaker 1: his portfolio and this executive takes like he's he's just

428
00:19:50,840 --> 00:19:53,159
Speaker 1: got all these sketches that he's drawn of Londoners, like

429
00:19:53,280 --> 00:19:55,719
Speaker 1: people around the city, and they're really they're described as

430
00:19:55,720 --> 00:19:58,600
Speaker 1: being grotesque that it doesn't survive. But Kitchcock had just

431
00:19:58,600 --> 00:20:01,560
Speaker 1: spent days drawing pictures of like people traveling through public

432
00:20:01,600 --> 00:20:04,960
Speaker 1: transit in London, and he presents them to this advertising

433
00:20:04,960 --> 00:20:07,520
Speaker 1: manager at this film company, and the guy hires him

434
00:20:07,560 --> 00:20:10,520
Speaker 1: like that, It's like, you've got whatever kind of eye

435
00:20:10,520 --> 00:20:12,200
Speaker 1: it is that we need, you know, films and new

436
00:20:12,280 --> 00:20:16,000
Speaker 1: medium at this point. But right silent film is just yea.

437
00:20:16,480 --> 00:20:19,640
Speaker 1: Clearly this guy's got what they're looking for, so they

438
00:20:19,680 --> 00:20:22,280
Speaker 1: bring them on. And now Hitchcock is in the film industry.

439
00:20:22,760 --> 00:20:25,080
Speaker 1: So when we come back, we're going to talk about

440
00:20:25,160 --> 00:20:28,320
Speaker 1: what else happens in Hitchcock's early film career. We're going

441
00:20:28,400 --> 00:20:31,560
Speaker 1: to talk about how his love of pranks came to

442
00:20:31,560 --> 00:20:34,800
Speaker 1: sort of dominate his early career and uh, but first

443
00:20:34,920 --> 00:20:40,800
Speaker 1: we're going to talk about do you like as uh,

444
00:20:40,960 --> 00:20:43,639
Speaker 1: you know what, I'm a fan of eighties commercials. Okay,

445
00:20:43,680 --> 00:20:45,639
Speaker 1: what do you want to advertise for a product from

446
00:20:45,640 --> 00:20:50,880
Speaker 1: the eighties for free before we break for ads? Uh? Yeah, um, Crossfire.

447
00:20:51,080 --> 00:20:54,080
Speaker 1: It's an excellent game. Oh yeah, Crossfire And they had

448
00:20:54,080 --> 00:20:57,359
Speaker 1: a great commercial. Yeah right, and I Rosette Target not

449
00:20:57,440 --> 00:21:00,199
Speaker 1: too long ago and they brought it back. Oh well,

450
00:21:00,200 --> 00:21:03,160
Speaker 1: I'm gonna advertise lawn darts since we're doing a Yeah,

451
00:21:03,240 --> 00:21:06,040
Speaker 1: lawn darts. I remember that commercial. Yeah, take a kid's

452
00:21:06,040 --> 00:21:11,199
Speaker 1: eye out. Too many eyes in the world today. All right, ads,

453
00:21:17,080 --> 00:21:20,639
Speaker 1: and we're back. Great ads, really good ads, almost as

454
00:21:20,640 --> 00:21:23,720
Speaker 1: good as lawn darts. But I mean, live there, people.

455
00:21:24,359 --> 00:21:27,920
Speaker 1: I even remember the Crossfire song, cross Fire, You'll get

456
00:21:27,960 --> 00:21:32,560
Speaker 1: caught up in the crossfire, A cross fire yeah, at

457
00:21:32,560 --> 00:21:37,520
Speaker 1: the Crossfire people, we are accepting sponsors if you want

458
00:21:37,560 --> 00:21:42,560
Speaker 1: to be the official game of such an idiot. We're

459
00:21:42,560 --> 00:21:44,360
Speaker 1: all fools for not buying. Cross Fire would be worth

460
00:21:44,400 --> 00:21:49,439
Speaker 1: millions today. Speaking of millions, Alfred Hitchcock, So when we

461
00:21:49,480 --> 00:21:52,160
Speaker 1: last left him off, he's just he's just kicked off

462
00:21:52,240 --> 00:21:55,200
Speaker 1: his his his career. Gotten hired with like an American

463
00:21:55,240 --> 00:21:57,560
Speaker 1: film company that had opened a studio in England. So

464
00:21:57,600 --> 00:21:59,879
Speaker 1: he works with them on three movies, helps to produce.

465
00:22:00,160 --> 00:22:03,040
Speaker 1: He works a bunch of different jobs. He's assistant director,

466
00:22:03,119 --> 00:22:06,120
Speaker 1: art directors, script supervisor, and he basically gets a chance

467
00:22:06,160 --> 00:22:09,280
Speaker 1: to learn the fundamentals of filmmaking on several different projects. Um,

468
00:22:09,280 --> 00:22:10,439
Speaker 1: I'm not going to go to the tail on the

469
00:22:10,440 --> 00:22:13,919
Speaker 1: individual movies because they were like weird little early British

470
00:22:14,000 --> 00:22:17,800
Speaker 1: films and stuff, and yeah, it's not Hitchcock's vision or anything, right,

471
00:22:17,840 --> 00:22:20,960
Speaker 1: but he's getting an eye for the details. Yeah. So

472
00:22:21,359 --> 00:22:23,119
Speaker 1: what's important for our story is that while he was

473
00:22:23,160 --> 00:22:25,680
Speaker 1: working on the third of these films, titled The Prude's Fall,

474
00:22:25,960 --> 00:22:31,280
Speaker 1: Alfred Hitchcock found himself a lad whoa yeah, yeah, yeah,

475
00:22:31,320 --> 00:22:36,600
Speaker 1: look at you, yeah, look at him, Alma REVELI I

476
00:22:36,640 --> 00:22:39,679
Speaker 1: think Revel. Yeah. Yeah. It was a freelance editor with

477
00:22:39,760 --> 00:22:42,879
Speaker 1: the company, and apparently nineteen twenty one, Alfred Hitchcock's way

478
00:22:42,880 --> 00:22:45,040
Speaker 1: of flirting was to completely ignore her, even when she

479
00:22:45,119 --> 00:22:48,840
Speaker 1: was right next to him, and never Yeah, he snubbed her.

480
00:22:48,880 --> 00:22:52,959
Speaker 1: He refused to acknowledge her existence for like months and months,

481
00:22:52,400 --> 00:22:55,080
Speaker 1: and that worked because back then, I don't think anyone

482
00:22:55,119 --> 00:22:57,520
Speaker 1: did that. Yeah yeah, I mean if you, if you

483
00:22:57,560 --> 00:23:01,040
Speaker 1: liked the lady, you would kind of serenader. Yeah, I think, yeah,

484
00:23:01,119 --> 00:23:03,879
Speaker 1: no one had tried. Uh, this is almost like negging.

485
00:23:03,960 --> 00:23:06,439
Speaker 1: So he's like, yeah, he's really he's a pioneer, a

486
00:23:06,440 --> 00:23:10,679
Speaker 1: pioneer of of pickup artistry. Uh yeah. So he ignored

487
00:23:10,680 --> 00:23:12,520
Speaker 1: her for months and months and months until one night

488
00:23:12,560 --> 00:23:14,400
Speaker 1: he gave her a call at home. Is that miss

489
00:23:14,520 --> 00:23:17,000
Speaker 1: REVELI this is Alfred Hitchcock. I have been appointed assistant

490
00:23:17,000 --> 00:23:18,720
Speaker 1: director for a new film. I wonder if you would

491
00:23:18,720 --> 00:23:20,760
Speaker 1: accept a position as cutter on the picture, which is

492
00:23:20,760 --> 00:23:22,879
Speaker 1: what they used to call editors, which were physically cutting

493
00:23:22,920 --> 00:23:25,640
Speaker 1: your physics. Once she took the job and they began

494
00:23:25,720 --> 00:23:28,040
Speaker 1: working more closely together, he explained to her that he

495
00:23:28,080 --> 00:23:30,000
Speaker 1: was very shy when it came to women, but he's

496
00:23:30,000 --> 00:23:32,359
Speaker 1: still more or less ignored her. It turned out that

497
00:23:32,359 --> 00:23:34,919
Speaker 1: this is because he viewed her position editing as higher

498
00:23:34,920 --> 00:23:37,439
Speaker 1: than his own, and quote, it was unthinkable for a

499
00:23:37,440 --> 00:23:39,280
Speaker 1: British male to admit that a woman has a more

500
00:23:39,280 --> 00:23:41,760
Speaker 1: important job than his, and I waited until I had

501
00:23:41,800 --> 00:23:45,280
Speaker 1: the higher position assistant director. So he's going to hit

502
00:23:45,280 --> 00:23:47,200
Speaker 1: on this girl. She's got a better job than he does.

503
00:23:47,960 --> 00:23:49,760
Speaker 1: So it's like a power thing. We're starting to get

504
00:23:49,800 --> 00:23:52,320
Speaker 1: into the sketchiness now, yeah, yeah, a little bit. Although

505
00:23:52,320 --> 00:23:54,080
Speaker 1: I mean it's hard to say if that's that weird

506
00:23:54,119 --> 00:23:56,879
Speaker 1: at the time because at the time men were, you know,

507
00:23:57,080 --> 00:24:01,040
Speaker 1: that was the common thinking. I guess, yeah, so this

508
00:24:01,119 --> 00:24:03,840
Speaker 1: still maybe him more in line with, like, you know,

509
00:24:03,880 --> 00:24:06,600
Speaker 1: the sort of values at the time. He proposed to

510
00:24:06,640 --> 00:24:08,400
Speaker 1: her while they were on board a ship from Germany

511
00:24:08,400 --> 00:24:11,680
Speaker 1: to England in the middle of a dreadful storm at sea. Uh.

512
00:24:11,960 --> 00:24:15,440
Speaker 1: It was very very romantic and dramatic proposition. Yeah, she's

513
00:24:15,480 --> 00:24:18,399
Speaker 1: sick and everything. They got engaged in nineteen twenty one,

514
00:24:18,400 --> 00:24:22,000
Speaker 1: but they didn't get married until nineteen six. Why because

515
00:24:22,080 --> 00:24:24,480
Speaker 1: Hitchcock didn't want to get married until he had directed

516
00:24:24,520 --> 00:24:28,240
Speaker 1: three feature films. Here's how he described odd rule. Well,

517
00:24:28,400 --> 00:24:31,199
Speaker 1: here's his explanation for why he had this rule. I

518
00:24:31,240 --> 00:24:33,560
Speaker 1: had wanted to become first a film director and second

519
00:24:33,640 --> 00:24:36,119
Speaker 1: Alma's husband. Not in the order of emotional preference, to

520
00:24:36,160 --> 00:24:38,480
Speaker 1: be sure, but because I felt the bargaining power implicit

521
00:24:38,480 --> 00:24:41,080
Speaker 1: in the first was necessary and obtaining the second gez.

522
00:24:41,560 --> 00:24:44,440
Speaker 1: So it's not enough to for her to like him,

523
00:24:44,520 --> 00:24:48,760
Speaker 1: you know, he's got to like add to the bargaining power. Yeah. Yeah,

524
00:24:48,880 --> 00:24:52,080
Speaker 1: every relationship must have been hard to win over. Yeah,

525
00:24:52,160 --> 00:24:54,160
Speaker 1: it seems like because she had a pretty good career

526
00:24:54,160 --> 00:24:55,960
Speaker 1: of her own going at the time, I guess he

527
00:24:56,040 --> 00:24:58,960
Speaker 1: wanted to like outmatch her. Yeah, yeah, exactly. And it

528
00:24:59,040 --> 00:25:00,879
Speaker 1: does seem like because she worked with him for his

529
00:25:00,920 --> 00:25:03,600
Speaker 1: whole career, they were collaborators, But it does seem like

530
00:25:03,640 --> 00:25:06,080
Speaker 1: she kind of gave up having like her own independent

531
00:25:06,119 --> 00:25:08,720
Speaker 1: career in order to sort of makes better being a

532
00:25:08,720 --> 00:25:10,880
Speaker 1: fan of his films. I would say that a lot

533
00:25:10,920 --> 00:25:13,399
Speaker 1: of her collaboration with him, it's like some of the

534
00:25:13,400 --> 00:25:16,800
Speaker 1: best yeah he's done. Yeah yeah. Now, Hitchcock would direct

535
00:25:16,840 --> 00:25:19,040
Speaker 1: something like twenty four British films. He grew well known

536
00:25:19,040 --> 00:25:22,479
Speaker 1: in the industry as an American style European director, so

537
00:25:22,520 --> 00:25:25,320
Speaker 1: he's famous for directing like an American when Europeans are,

538
00:25:25,400 --> 00:25:28,439
Speaker 1: you know, a couple of years behind Americans. Yeah, he

539
00:25:28,480 --> 00:25:31,240
Speaker 1: was like one of the first, yeah, to come out strong. Yeah.

540
00:25:31,280 --> 00:25:33,640
Speaker 1: And now among his colleagues, he grew well known as

541
00:25:33,680 --> 00:25:37,119
Speaker 1: a dick who played unbelievably aggressive pranks. Uh spot o.

542
00:25:37,240 --> 00:25:40,160
Speaker 1: His biographer suspects his motivation for these vicious pranks came

543
00:25:40,200 --> 00:25:41,760
Speaker 1: from him not being where he wanted to be yet

544
00:25:41,800 --> 00:25:43,760
Speaker 1: in his career and basically trying to gain control in

545
00:25:43,840 --> 00:25:46,960
Speaker 1: his personal life by fucking with people. Uh. Let's run

546
00:25:47,000 --> 00:25:50,680
Speaker 1: through several a lot really of his greatest hits. At

547
00:25:50,680 --> 00:25:53,760
Speaker 1: one point, he was given an assistant who, in his opinion, overdressed.

548
00:25:53,840 --> 00:25:55,600
Speaker 1: This made hitch feel like he had to take the

549
00:25:55,640 --> 00:25:57,879
Speaker 1: young man down a peg. He asked why the fellow

550
00:25:57,880 --> 00:25:59,840
Speaker 1: always wore such night's clothing, and the man said that

551
00:25:59,880 --> 00:26:01,560
Speaker 1: it was a holdover from his time in the Royal

552
00:26:01,640 --> 00:26:03,840
Speaker 1: Navy during World War One. He just sort of been

553
00:26:03,840 --> 00:26:06,760
Speaker 1: trained to always dress well. That night, Hitchcock asked the

554
00:26:06,800 --> 00:26:08,439
Speaker 1: young man to come with him on a trip across

555
00:26:08,480 --> 00:26:10,520
Speaker 1: the Temps. He made certain that the boat they took

556
00:26:10,560 --> 00:26:13,080
Speaker 1: was uncovered so that when it rained, it would drench

557
00:26:13,200 --> 00:26:15,639
Speaker 1: his young assistant and funk up his nice outfit, ruining

558
00:26:15,720 --> 00:26:19,639
Speaker 1: much of it permanently. That's that parts funny. It starts,

559
00:26:19,640 --> 00:26:22,360
Speaker 1: it starts funny. Young Alfred seemed to have a peculiar

560
00:26:22,400 --> 00:26:24,480
Speaker 1: hatred of other people having nice things, or at least

561
00:26:24,480 --> 00:26:27,000
Speaker 1: doing what he saw is bragging about it. On another instance,

562
00:26:27,080 --> 00:26:29,360
Speaker 1: after one of his cameramen talked about having an all new,

563
00:26:29,400 --> 00:26:33,159
Speaker 1: all electric kitchen, Hitchcock had two tons of coal dropped

564
00:26:33,160 --> 00:26:37,600
Speaker 1: in front of the man's door. Still, it's funny, it's funny,

565
00:26:37,880 --> 00:26:41,800
Speaker 1: but you see, like the proportions are off tons of coal.

566
00:26:41,960 --> 00:26:44,399
Speaker 1: It's almost like he went to the extreme. Yeah, that

567
00:26:44,560 --> 00:26:47,440
Speaker 1: was his pranking the the footprint of a large truck

568
00:26:47,520 --> 00:26:49,800
Speaker 1: worth of piles of coal. Yeah, he's kind of like

569
00:26:49,880 --> 00:26:52,920
Speaker 1: the original jackass. Yeah, yeah, he's he's got a little

570
00:26:52,920 --> 00:26:55,320
Speaker 1: bit of that going on. So he considered these to

571
00:26:55,400 --> 00:26:57,440
Speaker 1: be moral lessons, but they seemed to lack any sense

572
00:26:57,440 --> 00:27:00,400
Speaker 1: of proportion. Spoto's depiction of his life makes that very clear.

573
00:27:00,920 --> 00:27:04,119
Speaker 1: Other hitchcocking and mischief, however, inflicted some real inconvenience or

574
00:27:04,119 --> 00:27:07,040
Speaker 1: embarrassment on the victims for no particular reason. A featured

575
00:27:07,040 --> 00:27:10,159
Speaker 1: actress received four hundred smoked tearing for a birthday present,

576
00:27:10,160 --> 00:27:12,360
Speaker 1: and had the unpleasant task of deciding how to dispose

577
00:27:12,359 --> 00:27:14,159
Speaker 1: of what was left after two days living with an

578
00:27:14,160 --> 00:27:17,800
Speaker 1: all pervasive odor. After shooting the Farmer's wife, Hitchcock gave

579
00:27:17,800 --> 00:27:20,080
Speaker 1: a reception for the cast and crew, about forty people

580
00:27:20,119 --> 00:27:22,320
Speaker 1: in all, but the tupper was served in the smallest

581
00:27:22,400 --> 00:27:24,919
Speaker 1: room of a West End restaurant, where Hitchcock brought an

582
00:27:24,920 --> 00:27:27,680
Speaker 1: aspiring actors as waiters, one to each guest, and instructed

583
00:27:27,720 --> 00:27:31,679
Speaker 1: them to serve with appalling rudeness and incivility. So just

584
00:27:31,760 --> 00:27:33,520
Speaker 1: to get what he wanted on film. Yeah, well no,

585
00:27:33,600 --> 00:27:35,600
Speaker 1: I mean I think just this was after it was

586
00:27:35,640 --> 00:27:38,840
Speaker 1: done filming. Yeah, I think this was like, uh like

587
00:27:38,920 --> 00:27:40,800
Speaker 1: it was a reception for the cast and crew. So

588
00:27:40,800 --> 00:27:43,240
Speaker 1: he also, oh my gosh, Yeah, it's just weird. That

589
00:27:43,359 --> 00:27:46,040
Speaker 1: is weird. That's like it it starts like kind of

590
00:27:46,040 --> 00:27:48,520
Speaker 1: making sense. But he clearly seems to just have been

591
00:27:48,560 --> 00:27:50,560
Speaker 1: compelled to do this and to set up these kind

592
00:27:50,600 --> 00:27:53,240
Speaker 1: of dramatic scenes to see how people would react, you know,

593
00:27:53,240 --> 00:27:55,879
Speaker 1: because I would watch him being interviewed and he was

594
00:27:55,920 --> 00:27:59,480
Speaker 1: always really funny, you know, like very witty and kind

595
00:27:59,480 --> 00:28:02,080
Speaker 1: of like I was shocked at how hilarious he could be.

596
00:28:02,440 --> 00:28:04,760
Speaker 1: But I guess like he had a darker kind of sense.

597
00:28:04,880 --> 00:28:07,560
Speaker 1: He did have a darker kind of sense. Um. I

598
00:28:07,560 --> 00:28:09,200
Speaker 1: think he would defend it by saying he was trying

599
00:28:09,200 --> 00:28:11,800
Speaker 1: to teach lessons to people, and he sort of did

600
00:28:11,840 --> 00:28:13,240
Speaker 1: that in the same way that he would have to

601
00:28:13,320 --> 00:28:15,320
Speaker 1: a character in a movie. Like he he did that

602
00:28:15,400 --> 00:28:18,080
Speaker 1: like just in his actual life. Here's a quote from

603
00:28:18,080 --> 00:28:20,639
Speaker 1: Alfred himself on one of his practical jokes. Quote. The

604
00:28:20,640 --> 00:28:23,040
Speaker 1: best practical joke I ever played was at a London

605
00:28:23,080 --> 00:28:25,399
Speaker 1: hotel where I gave a dinner party for Gertrude Lawrence.

606
00:28:25,440 --> 00:28:27,280
Speaker 1: I always thought blue was such a pretty color, but

607
00:28:27,320 --> 00:28:29,000
Speaker 1: none of the food we eat is blue. So at

608
00:28:29,000 --> 00:28:31,240
Speaker 1: this party, all the food was blue. I had the

609
00:28:31,240 --> 00:28:33,560
Speaker 1: soup died blue, with the trout, the peaches, the ice cream.

610
00:28:33,560 --> 00:28:35,760
Speaker 1: How would the guests react? How far would manners and

611
00:28:35,800 --> 00:28:38,360
Speaker 1: propriety take them? So that he just wants to see

612
00:28:38,400 --> 00:28:40,800
Speaker 1: he wants to tweak people to see what they did. Yeah,

613
00:28:40,840 --> 00:28:43,280
Speaker 1: he's yeah, which is that makes very much sense? Like

614
00:28:43,360 --> 00:28:45,840
Speaker 1: knowing these days he would get his own show, Yeah,

615
00:28:45,920 --> 00:28:48,320
Speaker 1: and it would be probably really good. He would be

616
00:28:48,440 --> 00:28:50,440
Speaker 1: Nathan for you right now. Yeah, he would be their

617
00:28:50,480 --> 00:28:54,280
Speaker 1: modern Natan or if you know previous he would be like, uh,

618
00:28:54,360 --> 00:28:58,880
Speaker 1: you know what's that show with Aston Kutcher? Oh punked? Right? Yeah, yeah, yeah,

619
00:28:58,920 --> 00:29:02,200
Speaker 1: it is that kind of thing. Um. Now, I do

620
00:29:02,240 --> 00:29:04,320
Speaker 1: want to note that, like these weren't all people who

621
00:29:04,320 --> 00:29:06,520
Speaker 1: had done something to offend him. He also fucked with

622
00:29:06,520 --> 00:29:09,880
Speaker 1: his friends this way. Sir Gerald Dumarrier, who is a

623
00:29:09,880 --> 00:29:11,960
Speaker 1: prominent actor at the time, was a friend of Hitchcox.

624
00:29:12,200 --> 00:29:13,960
Speaker 1: One day, he came into his dressing room after a

625
00:29:14,000 --> 00:29:17,320
Speaker 1: performance to find a live adult horse sitting and presumably

626
00:29:17,320 --> 00:29:22,840
Speaker 1: shitting in his dressing room. A few Yeah, they're they're

627
00:29:22,880 --> 00:29:26,040
Speaker 1: funny so far. A few weeks later, Hitchcock invited Sir

628
00:29:26,160 --> 00:29:28,720
Speaker 1: Gerard to a costume party and told him to dress

629
00:29:28,720 --> 00:29:31,280
Speaker 1: in a ridiculous get up. So Sir Gerard shows up

630
00:29:31,320 --> 00:29:33,360
Speaker 1: at this party with his face painted and dressed as

631
00:29:33,360 --> 00:29:36,360
Speaker 1: a Scotsman. As you probably guess, the party was really

632
00:29:36,360 --> 00:29:38,560
Speaker 1: a black tie affair, not a costume party, and Sir

633
00:29:38,640 --> 00:29:44,520
Speaker 1: Gerald left immediately feeling very embarrassed. Now again, little whimsical fun.

634
00:29:45,440 --> 00:29:47,960
Speaker 1: Elsie Randolph was an actress who worked with Hitchcock on

635
00:29:48,000 --> 00:29:50,560
Speaker 1: a number of films. She came to trust him and

636
00:29:50,600 --> 00:29:53,120
Speaker 1: at one point confided in him that she was absolutely

637
00:29:53,200 --> 00:29:56,840
Speaker 1: terrified of fire. As you might guess, Alfred, this is

638
00:29:57,600 --> 00:30:00,000
Speaker 1: this is where things take it to. Yeah, I'm seeing

639
00:30:00,040 --> 00:30:02,480
Speaker 1: the term. Yeah, As you might guess, Alfred Hitchcock was

640
00:30:02,520 --> 00:30:04,960
Speaker 1: basically the worst person you could ever tell about a fear.

641
00:30:05,040 --> 00:30:09,080
Speaker 1: Oh god, don't don't confide it a little bit, right,

642
00:30:09,200 --> 00:30:11,240
Speaker 1: because if we got around at what he does. But

643
00:30:11,320 --> 00:30:13,960
Speaker 1: here's here's what he does. He waits until she goes

644
00:30:13,960 --> 00:30:16,440
Speaker 1: into a telephone box like the tardest, you know, like

645
00:30:16,480 --> 00:30:19,040
Speaker 1: one of those like that's that's the ones that you

646
00:30:19,080 --> 00:30:20,680
Speaker 1: can't get out of. So once she's in it, he

647
00:30:20,800 --> 00:30:23,520
Speaker 1: locks it from the outside and starts pumping smoke into

648
00:30:23,560 --> 00:30:27,280
Speaker 1: the box and variously convince her she's about to burn

649
00:30:27,360 --> 00:30:33,920
Speaker 1: to death. That is fun. Love smoke filled. Man, when

650
00:30:33,960 --> 00:30:36,200
Speaker 1: you can't get out and trapped and you don't know

651
00:30:36,280 --> 00:30:38,680
Speaker 1: that it's a joke. He just think you've gotta die.

652
00:30:38,880 --> 00:30:41,640
Speaker 1: Oh that is that is a joy. That's better than Disneyland.

653
00:30:41,800 --> 00:30:44,280
Speaker 1: That's better than Disneyland. Oh God, I love a fake

654
00:30:45,000 --> 00:30:47,880
Speaker 1: burning to death. It's just there's no better way to

655
00:30:47,920 --> 00:30:50,000
Speaker 1: get a good laugh out of somebody. It's my favorite

656
00:30:50,000 --> 00:30:53,120
Speaker 1: thing about Disney World. When you're on the Space Mountain

657
00:30:53,160 --> 00:30:55,120
Speaker 1: and then it stops and it fills with smoke and

658
00:30:55,120 --> 00:30:57,200
Speaker 1: you're you're strapped in it. Like that's why everyone loves

659
00:30:57,240 --> 00:30:59,720
Speaker 1: Space Mountain, because you think you're going to die and

660
00:30:59,720 --> 00:31:05,680
Speaker 1: the doctor's like, just kidding. Ah. So, Hitchcock's usual targets

661
00:31:05,720 --> 00:31:08,480
Speaker 1: where people he worked with, generally people who worked under

662
00:31:08,560 --> 00:31:10,480
Speaker 1: him and thus could not really do anything about it

663
00:31:10,520 --> 00:31:13,320
Speaker 1: if they'd wanted to. He often spent tremendous amounts of

664
00:31:13,320 --> 00:31:16,480
Speaker 1: money just to screw with people. For one example, one Christmas,

665
00:31:16,480 --> 00:31:18,200
Speaker 1: he bought the entire crew of the movie he was

666
00:31:18,240 --> 00:31:21,280
Speaker 1: working on enormous pieces of furniture. Sounds nice, right, It

667
00:31:21,280 --> 00:31:23,800
Speaker 1: sounds like a fancy gift, But beforehand he went to

668
00:31:23,800 --> 00:31:26,240
Speaker 1: the effort of checking out each of their homes individually

669
00:31:26,240 --> 00:31:27,880
Speaker 1: to make sure none of them lived in houses that

670
00:31:27,920 --> 00:31:31,800
Speaker 1: would fit the gifts he was buying. What the funk?

671
00:31:31,880 --> 00:31:37,640
Speaker 1: Who does? Who spends thousands of dollars just oh, your

672
00:31:37,680 --> 00:31:39,719
Speaker 1: house is too small for that. I mean. His pranks

673
00:31:39,720 --> 00:31:42,080
Speaker 1: are almost as brilliant as his movies. Yeah, yeah, He's like,

674
00:31:42,200 --> 00:31:45,960
Speaker 1: they're not lazy pranks. That's that's that's very interesting. We're

675
00:31:45,960 --> 00:31:49,080
Speaker 1: gonna keep going. There's a lot more problems, man. Now.

676
00:31:49,200 --> 00:31:51,160
Speaker 1: From what I can tell, it seems like Hitchcock spent

677
00:31:51,240 --> 00:31:53,280
Speaker 1: a lot of the money he made, especially during the

678
00:31:53,320 --> 00:31:56,360
Speaker 1: early part of his career, really taking off playing increasingly

679
00:31:56,400 --> 00:31:59,959
Speaker 1: aggressive pranks. He had custom whoopee cushions sofa cushions may

680
00:32:00,200 --> 00:32:02,040
Speaker 1: for his home furniture, which he would put out in

681
00:32:02,040 --> 00:32:04,600
Speaker 1: lieu of regular cushions. Whenever he had a guest that

682
00:32:04,640 --> 00:32:07,240
Speaker 1: he thought was too fancy. Hitchcock would then spend the

683
00:32:07,320 --> 00:32:10,400
Speaker 1: entire night giving that person ship for farting at his party. Right.

684
00:32:10,960 --> 00:32:13,200
Speaker 1: He once sent a series of gifts and he did

685
00:32:13,280 --> 00:32:16,120
Speaker 1: love notes to a married woman he know knew uh Now.

686
00:32:16,160 --> 00:32:18,160
Speaker 1: This woman was one member of a couple who hosted

687
00:32:18,160 --> 00:32:20,920
Speaker 1: a radio show together. He did not like their radio show,

688
00:32:20,960 --> 00:32:24,640
Speaker 1: and so Hitchcock decided to ruin their relationship. I wanted

689
00:32:24,640 --> 00:32:26,400
Speaker 1: to see what this would do to the husband. At

690
00:32:26,400 --> 00:32:28,440
Speaker 1: one point she ran after the driver who had brought

691
00:32:28,440 --> 00:32:30,320
Speaker 1: a gift to try and figure out who the cinder was.

692
00:32:30,400 --> 00:32:32,600
Speaker 1: And finally the husband said on the air one day,

693
00:32:32,800 --> 00:32:34,720
Speaker 1: I can't go on with the show. She's run out

694
00:32:34,720 --> 00:32:36,840
Speaker 1: into the street. So I had the pleasure of breaking

695
00:32:36,880 --> 00:32:40,480
Speaker 1: up that show. So he just like, now, that's that's

696
00:32:40,560 --> 00:32:45,280
Speaker 1: kind of a little too far there. Yeah. Yeah. It

697
00:32:45,360 --> 00:32:48,800
Speaker 1: was not uncommon for Hitchcock pranks to veer into abusive territory.

698
00:32:48,880 --> 00:32:51,000
Speaker 1: Some of them were straight up bacts of torture. One time,

699
00:32:51,080 --> 00:32:53,400
Speaker 1: during the production of a film Hitchcock found boring, he

700
00:32:53,480 --> 00:32:55,760
Speaker 1: bet one of his crew members a full week salary

701
00:32:55,840 --> 00:32:57,720
Speaker 1: if the man could spend the night chain to a

702
00:32:57,800 --> 00:33:01,320
Speaker 1: camera in the empty, darkened studio. So he handcuffs this

703
00:33:01,360 --> 00:33:03,640
Speaker 1: guy inside and leaves him with a bottle of brandy,

704
00:33:03,720 --> 00:33:05,960
Speaker 1: which he said was to ensure a quick and deep sleep.

705
00:33:07,120 --> 00:33:08,600
Speaker 1: Do you wanna you want to take a guess at

706
00:33:08,640 --> 00:33:12,720
Speaker 1: what the prank was here? Oh gosh, I mean, who

707
00:33:12,760 --> 00:33:16,000
Speaker 1: knows that furniture thing still is still throwing me? Well this,

708
00:33:16,080 --> 00:33:18,800
Speaker 1: actually there's a little bit of relation to that. Uh.

709
00:33:18,800 --> 00:33:21,560
Speaker 1: He drugged the brandy with powerful accatives, causing the man

710
00:33:21,640 --> 00:33:24,840
Speaker 1: to shoot himself uncontrollably the entire night. Wow, I should

711
00:33:24,840 --> 00:33:29,239
Speaker 1: have predicted that, Yeah, that he poisoned some clue. The

712
00:33:29,280 --> 00:33:32,840
Speaker 1: rest of the crew found their coworker the next morning, weeping, ashamed,

713
00:33:32,960 --> 00:33:36,040
Speaker 1: badly dehydrated, and surrounded by a wide pool of his

714
00:33:36,080 --> 00:33:40,600
Speaker 1: own diarrhea in the middle of the gross. Yeah, that's

715
00:33:40,720 --> 00:33:46,120
Speaker 1: that's freely bad. That's not like a fun time happy prank.

716
00:33:46,160 --> 00:33:48,840
Speaker 1: That's noting like you gotta the couch is too big.

717
00:33:49,360 --> 00:33:53,520
Speaker 1: He shed himself for nine hours. Nine hours Jesus Christ,

718
00:33:54,360 --> 00:33:57,480
Speaker 1: Oh boy. Yeah, here's how the dark side of genius

719
00:33:57,520 --> 00:34:00,280
Speaker 1: tried to make sense of this horrific behavior to make

720
00:34:00,360 --> 00:34:02,800
Speaker 1: others feel childish and dependent. This seemed to be part

721
00:34:02,840 --> 00:34:05,320
Speaker 1: of his goal. He apparently considered most people a threat.

722
00:34:05,360 --> 00:34:08,640
Speaker 1: They were better looking, more intelligent, better educated, more socially

723
00:34:08,640 --> 00:34:11,719
Speaker 1: acceptable than himself, and by reducing them to a sudden discomfort,

724
00:34:11,960 --> 00:34:13,839
Speaker 1: perhaps he felt he was bringing them to the level

725
00:34:13,840 --> 00:34:16,400
Speaker 1: on which he always lived. By thus subjugating those he

726
00:34:16,440 --> 00:34:19,480
Speaker 1: resented for whatever reason and one whatever level of consciousness,

727
00:34:19,480 --> 00:34:22,240
Speaker 1: by submitting them to varying degrees of humiliation and danger,

728
00:34:22,520 --> 00:34:24,720
Speaker 1: he was not only controlling them, He was in fact

729
00:34:24,800 --> 00:34:28,400
Speaker 1: exteriorizing his own deepest fears, fears that would later be exteriorized,

730
00:34:28,440 --> 00:34:30,880
Speaker 1: chiefly on the screen, where he could subject vast numbers

731
00:34:30,880 --> 00:34:34,440
Speaker 1: of people to crisis and dread. Wow, that's how Spotto

732
00:34:35,080 --> 00:34:36,920
Speaker 1: concludes all this, And you know, he makes a good

733
00:34:36,920 --> 00:34:39,680
Speaker 1: case for I think I read some of that book

734
00:34:40,120 --> 00:34:41,799
Speaker 1: because I was staying at a friend's house and it

735
00:34:41,840 --> 00:34:44,920
Speaker 1: was on the shelf, and because at the time I

736
00:34:45,040 --> 00:34:47,400
Speaker 1: was like, I've always been a fan, but I remember

737
00:34:47,440 --> 00:34:48,960
Speaker 1: just pulling it off the shelf and reading a couple

738
00:34:48,960 --> 00:34:51,240
Speaker 1: of chapters. And it's a good book. It's a good book.

739
00:34:51,280 --> 00:34:52,879
Speaker 1: It's a good book. There's a lot of a lot

740
00:34:52,920 --> 00:34:54,960
Speaker 1: of this is in there. There's a lot of different

741
00:34:54,960 --> 00:34:57,480
Speaker 1: stories of his pranks that kind of I combed from

742
00:34:57,520 --> 00:35:01,319
Speaker 1: a number of different locations. Uh. The only person I've

743
00:35:01,320 --> 00:35:03,680
Speaker 1: read about who managed to turn the tables on Hitchcock

744
00:35:03,840 --> 00:35:06,520
Speaker 1: was Alfred Room, who was an assistant cameraman on one

745
00:35:06,520 --> 00:35:09,400
Speaker 1: of his productions. Was he Oh no, I'm thinking of

746
00:35:09,440 --> 00:35:12,200
Speaker 1: a different room. Yeah, I mean maybe. Um, After being

747
00:35:12,200 --> 00:35:14,640
Speaker 1: repeatedly pranked by the director, Room put a smoke bomb

748
00:35:14,760 --> 00:35:17,799
Speaker 1: under Hitch's car. Quote you never saw a fat man

749
00:35:17,840 --> 00:35:19,960
Speaker 1: get out of a car quicker. Hitch never tried anything

750
00:35:20,000 --> 00:35:22,160
Speaker 1: on me again. He respected you if you hit back.

751
00:35:22,200 --> 00:35:24,480
Speaker 1: If you didn't, he'd have another go. So this is

752
00:35:24,560 --> 00:35:28,439
Speaker 1: Room's sort of how to deal with Hitchcock. Well that's

753
00:35:28,520 --> 00:35:30,959
Speaker 1: awesome because it's like someone figured it out. Yeah, someone

754
00:35:31,040 --> 00:35:32,640
Speaker 1: figured it out, and a few people seem to have

755
00:35:32,640 --> 00:35:34,480
Speaker 1: figured it out over of course of his career. And

756
00:35:34,480 --> 00:35:37,960
Speaker 1: his name was Alfred. Also, yeah it was another Alfred.

757
00:35:38,640 --> 00:35:40,759
Speaker 1: Uh Now. No one at the time seemed to think

758
00:35:40,840 --> 00:35:43,960
Speaker 1: Hitchcock's hobby of sometimes literally torturing people was worth talking

759
00:35:44,040 --> 00:35:46,160
Speaker 1: much about. He was rarely interviewed about it, and then

760
00:35:46,239 --> 00:35:48,480
Speaker 1: only near the end of his life. In one nineteen

761
00:35:48,520 --> 00:35:50,879
Speaker 1: seventy two interview, he insisted his pranks were not meant

762
00:35:50,920 --> 00:35:54,719
Speaker 1: to harm or denigrate their victims, So that would be

763
00:35:54,840 --> 00:35:58,000
Speaker 1: Hitchcock's attitude. Well, but shooting for nine hours that's kind

764
00:35:58,040 --> 00:36:00,440
Speaker 1: of harmful. Seem harmful, and I can't be good for

765
00:36:00,480 --> 00:36:04,640
Speaker 1: your cohen. Poisoning someone's alcohol with laxative seems harmful, and

766
00:36:05,040 --> 00:36:06,600
Speaker 1: perhaps didn't. I mean, I bet you that guy had

767
00:36:06,600 --> 00:36:09,120
Speaker 1: problems later in life, like yeah, well, I mean, how

768
00:36:09,160 --> 00:36:11,640
Speaker 1: could you continue working on that thing? Your coworkers all

769
00:36:11,680 --> 00:36:14,960
Speaker 1: find you chained a thing covered in ship like after like,

770
00:36:15,120 --> 00:36:18,759
Speaker 1: surrounded by a pile of your own sick. That's it's

771
00:36:18,760 --> 00:36:22,320
Speaker 1: a dark man, and this all counts as light compared

772
00:36:22,360 --> 00:36:24,719
Speaker 1: to what we are slowly building towards. Well, I know

773
00:36:24,760 --> 00:36:27,760
Speaker 1: a couple of things. Yeah, you're right, Yeah, Hitchcock finally

774
00:36:27,760 --> 00:36:30,839
Speaker 1: crossed over from eurocinema to Hollywood nine nine. He hit

775
00:36:30,880 --> 00:36:33,080
Speaker 1: his peak in the nineteen fifties with a string of

776
00:36:33,200 --> 00:36:37,320
Speaker 1: legendary hits like dial In for Murder, to Catch a Thief, Vertigo,

777
00:36:37,440 --> 00:36:41,360
Speaker 1: and of course north By Northwest. Interesting side note Vertigo,

778
00:36:41,640 --> 00:36:45,759
Speaker 1: I want to say, rear Window um rope, And there's

779
00:36:45,800 --> 00:36:48,960
Speaker 1: one more, The Man who Knew too Much. They were

780
00:36:49,080 --> 00:36:54,719
Speaker 1: not like widely released or seen really like until the

781
00:36:54,760 --> 00:36:57,279
Speaker 1: eighties really because they came out in the theaters. But

782
00:36:57,600 --> 00:37:01,240
Speaker 1: we're just like brief so well hadn't seen them until

783
00:37:01,280 --> 00:37:04,000
Speaker 1: the eighties, like eighty four they were re released, So

784
00:37:04,080 --> 00:37:06,319
Speaker 1: I didn't know that. That's fascinating. Yeah, I didn't know that.

785
00:37:06,360 --> 00:37:09,320
Speaker 1: So that's when he like got I guess belood. But

786
00:37:09,360 --> 00:37:11,759
Speaker 1: it was like he was he became well known at

787
00:37:11,760 --> 00:37:14,000
Speaker 1: this point, so he was still he was kind of

788
00:37:14,040 --> 00:37:17,120
Speaker 1: well known, and um, I mean those movies like made

789
00:37:17,200 --> 00:37:19,680
Speaker 1: him like an icon. Yeah, but I think Psycho is

790
00:37:19,719 --> 00:37:23,120
Speaker 1: with the biggest breakthrough and that's what we're we're building up. Yeah, yeah,

791
00:37:23,120 --> 00:37:25,800
Speaker 1: we're we're getting up towards. So he continues pranking throughout

792
00:37:25,840 --> 00:37:27,960
Speaker 1: all these years, and his increasing a wealth allows him

793
00:37:27,960 --> 00:37:30,640
Speaker 1: to do things like by gigantic furniture for dozens of

794
00:37:30,680 --> 00:37:32,600
Speaker 1: people just to screw with them. So like that stand

795
00:37:33,160 --> 00:37:35,759
Speaker 1: we should also say, um, thanks to Salznick, he was

796
00:37:35,800 --> 00:37:38,960
Speaker 1: brought over. Oh yeah, I didn't know that. Yeah, Rebecca

797
00:37:39,239 --> 00:37:43,200
Speaker 1: was his first, Um American film. Excellent movie. It's on Criterion.

798
00:37:43,239 --> 00:37:46,799
Speaker 1: I highly recommend watching it. It's brilliant. Salznick was like

799
00:37:46,840 --> 00:37:49,000
Speaker 1: already a fan, so he brought him over to make

800
00:37:49,040 --> 00:37:52,160
Speaker 1: that filmy and um, that's kind of his intro into

801
00:37:52,200 --> 00:37:55,000
Speaker 1: American cinema. And he I mean, he did very well

802
00:37:55,000 --> 00:38:00,239
Speaker 1: in American cinema. Now there's there's. Women are often a

803
00:38:00,320 --> 00:38:03,239
Speaker 1: focus in Hitchcock's films, often like major characters, and it

804
00:38:03,280 --> 00:38:07,719
Speaker 1: blondes in particular. And um, the Guardian described women in

805
00:38:07,760 --> 00:38:11,280
Speaker 1: Hitchcock movies is quote outwardly immaculate, but full of treachery

806
00:38:11,280 --> 00:38:14,320
Speaker 1: and weakness. Um, which you know, at least from the

807
00:38:14,560 --> 00:38:17,399
Speaker 1: Hitchcock movies. I know that seems to be uh an

808
00:38:17,400 --> 00:38:19,600
Speaker 1: accurate description of a lot of the female characters. That

809
00:38:19,760 --> 00:38:22,279
Speaker 1: a little bit. Yeah, And it's interesting to me the

810
00:38:22,280 --> 00:38:25,040
Speaker 1: outwardly immaculate because they are always blonde, they're always very

811
00:38:25,040 --> 00:38:26,800
Speaker 1: put together, at least at the start of the films,

812
00:38:26,840 --> 00:38:28,919
Speaker 1: and we see them sort of get degraded and picked

813
00:38:28,960 --> 00:38:31,520
Speaker 1: apart in what Yeah, Rebecca is all about that? Yeah,

814
00:38:31,560 --> 00:38:34,560
Speaker 1: I mean that poor woman is like taken two bits

815
00:38:34,760 --> 00:38:36,960
Speaker 1: at the end of the movie, and we his description

816
00:38:37,000 --> 00:38:39,480
Speaker 1: of his mother is that she was always very put together.

817
00:38:39,640 --> 00:38:41,520
Speaker 1: You know, she would never leave the house without gloves,

818
00:38:41,520 --> 00:38:43,319
Speaker 1: and he makes like made a big point of that

819
00:38:43,320 --> 00:38:45,560
Speaker 1: whenever he talked about her. So that's interesting to me

820
00:38:45,600 --> 00:38:48,480
Speaker 1: that like that is that is like his starting point

821
00:38:48,520 --> 00:38:51,160
Speaker 1: with any female characters, Like she hits that point where,

822
00:38:51,239 --> 00:38:53,040
Speaker 1: you know, it's very much similar to how he describes

823
00:38:53,080 --> 00:38:55,040
Speaker 1: his mother is always going out when she's very properly

824
00:38:55,120 --> 00:38:58,719
Speaker 1: dressed and attired and whatnot. To find that interesting. Now,

825
00:38:59,680 --> 00:39:01,920
Speaker 1: his d need for control was expressed in more and

826
00:39:01,960 --> 00:39:04,840
Speaker 1: more extravagant ways. This profile grew, and his brilliance was

827
00:39:04,880 --> 00:39:09,719
Speaker 1: recognized by a grateful, drooling loving Hollywood. According to the

828
00:39:09,719 --> 00:39:12,719
Speaker 1: Telegraph quote, he cared so deeply about protecting his art

829
00:39:12,760 --> 00:39:14,759
Speaker 1: he spared no expense making sure they were viewed in

830
00:39:14,800 --> 00:39:17,479
Speaker 1: the correct manner by their audiences, buying their film rights

831
00:39:17,520 --> 00:39:19,399
Speaker 1: to five of his most famous films. The Man who

832
00:39:19,440 --> 00:39:21,759
Speaker 1: Knew Too Much Rear Window, Rope and The Trouble with

833
00:39:21,800 --> 00:39:24,120
Speaker 1: Harry and Vertigo, so they could not be screened in

834
00:39:24,160 --> 00:39:27,319
Speaker 1: movie theaters for after their initial run. Subsequently, they were

835
00:39:27,360 --> 00:39:29,200
Speaker 1: not seen by a cinema audience for thirty years, So

836
00:39:29,239 --> 00:39:31,640
Speaker 1: that's why that happened. So he he only wanted people

837
00:39:31,680 --> 00:39:34,120
Speaker 1: seeing them in like the proper context exactly. So I

838
00:39:34,120 --> 00:39:36,240
Speaker 1: didn't know that was coming from him. Yeah, So apparently

839
00:39:36,280 --> 00:39:38,440
Speaker 1: that's sort of why, like he knew that when they

840
00:39:38,440 --> 00:39:40,960
Speaker 1: were in their initial theatrical run he could make sure

841
00:39:41,000 --> 00:39:43,680
Speaker 1: that they were seen in certain ways. And that Rope

842
00:39:43,800 --> 00:39:47,120
Speaker 1: is brilliant. Rope Rope is probably one of his movies

843
00:39:47,160 --> 00:39:50,000
Speaker 1: that I highly recommend you see. Yeah, it's it's got

844
00:39:50,239 --> 00:39:53,799
Speaker 1: such artistry and unique kind of style to it and

845
00:39:53,920 --> 00:39:55,640
Speaker 1: like ahead of its time. And we see there, we

846
00:39:55,680 --> 00:39:57,520
Speaker 1: see here that this is like, this is like the

847
00:39:57,520 --> 00:39:59,520
Speaker 1: good side of sort of this need for control, as

848
00:39:59,560 --> 00:40:01,680
Speaker 1: he's not going to put his movies out unless they're

849
00:40:01,719 --> 00:40:03,880
Speaker 1: like he can guarantee they're like being seen in the

850
00:40:03,880 --> 00:40:06,560
Speaker 1: proper way. So this is like, Okay, that's probably part

851
00:40:06,560 --> 00:40:08,400
Speaker 1: of why he was such a good director, as this control.

852
00:40:08,440 --> 00:40:10,360
Speaker 1: But we're also seeing sort of the dark side of

853
00:40:10,360 --> 00:40:13,600
Speaker 1: this control and both part of the same guy. And

854
00:40:13,840 --> 00:40:17,040
Speaker 1: this darkness that I keep talking to, we've seen bits

855
00:40:17,040 --> 00:40:18,760
Speaker 1: of it in the pranks he plays, but it becomes

856
00:40:18,800 --> 00:40:22,400
Speaker 1: really really clear when he starts dealing with his leading women,

857
00:40:22,480 --> 00:40:25,719
Speaker 1: and one leading woman in particular. And that's what we're

858
00:40:25,719 --> 00:40:31,319
Speaker 1: gonna start talking about. But first we're gonna talk about

859
00:40:31,000 --> 00:40:34,840
Speaker 1: almost But then I was like products, products and services,

860
00:40:35,480 --> 00:40:38,440
Speaker 1: like the fine products and services that support this show

861
00:40:38,480 --> 00:40:46,919
Speaker 1: and or program. We're back and we're providing a free

862
00:40:46,960 --> 00:40:50,040
Speaker 1: plug for the late nineteen eighties G I. Joe aircraft

863
00:40:50,080 --> 00:40:53,400
Speaker 1: carrier TOYO great toy. Yeah, and no kid owned it.

864
00:40:53,640 --> 00:40:55,680
Speaker 1: It was like ten ft long. Yeah, it was way

865
00:40:55,760 --> 00:40:57,719
Speaker 1: too big for a toy. Can you imagine, like your

866
00:40:57,800 --> 00:41:01,480
Speaker 1: dad brings that home. It's like, what stupid kid got that?

867
00:41:01,480 --> 00:41:04,160
Speaker 1: That was like to Christmas Is at least and you

868
00:41:04,200 --> 00:41:06,920
Speaker 1: immediately hated that kid. Yeah, yeah, absolutely. I don't know

869
00:41:06,920 --> 00:41:09,239
Speaker 1: why we're so into eighties ads right now, but if

870
00:41:09,280 --> 00:41:12,759
Speaker 1: you make large g I. Joker aircraft carriers and one

871
00:41:12,840 --> 00:41:15,680
Speaker 1: of or you make real aircraft carriers and you want

872
00:41:15,719 --> 00:41:19,200
Speaker 1: to advertise on the show. We have a lot of

873
00:41:20,480 --> 00:41:24,839
Speaker 1: small nations building navies as listeners on this show Mozambique

874
00:41:24,880 --> 00:41:26,880
Speaker 1: could use a navy. They just sold there's to Erik Prince.

875
00:41:26,960 --> 00:41:31,680
Speaker 1: So I think we have a lot of Mozambique. Oh,

876
00:41:31,760 --> 00:41:34,120
Speaker 1: thank you, thank you. Yeah. So if you, if you,

877
00:41:34,239 --> 00:41:37,200
Speaker 1: if you sell navies, advertise on our show, and maybe

878
00:41:37,239 --> 00:41:40,359
Speaker 1: we can sell a navy to the next Eric Prince together. Yeah,

879
00:41:40,480 --> 00:41:42,560
Speaker 1: that sounds like a goal. That sounds like a nice thing.

880
00:41:42,680 --> 00:41:47,080
Speaker 1: So back into Hitchcock. Hitchcock became infamous as his career

881
00:41:47,080 --> 00:41:49,560
Speaker 1: really took off in the late fifties for writing his

882
00:41:49,600 --> 00:41:51,799
Speaker 1: actors and actress is hard. This was not always a

883
00:41:51,800 --> 00:41:54,120
Speaker 1: bad thing. I found a telling quote from Grace Kelly

884
00:41:54,120 --> 00:41:57,120
Speaker 1: in nineteen seventy nine. Mr Hitchcock is often reputed to

885
00:41:57,120 --> 00:41:59,400
Speaker 1: hold actors in disdain, but he actually has a special

886
00:41:59,400 --> 00:42:01,040
Speaker 1: way with them and is able to get exactly what

887
00:42:01,080 --> 00:42:03,520
Speaker 1: he wants in the way of a performance. His inimitable

888
00:42:03,560 --> 00:42:05,719
Speaker 1: humor puts him at ease, while his enduring patience gives

889
00:42:05,719 --> 00:42:08,840
Speaker 1: them any confidence they may need. Of course, sometimes he

890
00:42:08,880 --> 00:42:11,360
Speaker 1: merely wears them down until he gets what he wants.

891
00:42:12,440 --> 00:42:15,600
Speaker 1: So she's being very grateful there, But you can see

892
00:42:15,680 --> 00:42:19,439
Speaker 1: like he has a couple of ways of working with you. Well,

893
00:42:19,480 --> 00:42:24,440
Speaker 1: she was probably less another exactly because she was like Room,

894
00:42:24,480 --> 00:42:26,319
Speaker 1: the guy who put a smoke bomb on Hitchcock's car.

895
00:42:26,520 --> 00:42:29,160
Speaker 1: She pushed back. You know, she was very established by

896
00:42:29,160 --> 00:42:31,839
Speaker 1: the time you started working with him. Grace Kelly was

897
00:42:31,880 --> 00:42:34,640
Speaker 1: not some new starlett who starts working with this young director.

898
00:42:34,640 --> 00:42:37,160
Speaker 1: Well because like he discovered a few but yeah, exactly.

899
00:42:37,600 --> 00:42:40,200
Speaker 1: So above all else, Hitchcock was obsessed with a quest

900
00:42:40,280 --> 00:42:43,280
Speaker 1: to create the perfect actress, someone who could ideally embody

901
00:42:43,360 --> 00:42:45,720
Speaker 1: the specific kinds of heroine that he wanted to write.

902
00:42:46,040 --> 00:42:49,040
Speaker 1: Grace Kelly was one candidate for the role. Ingrid Bergman

903
00:42:49,200 --> 00:42:51,680
Speaker 1: was another. Hitchcock fell in love with Ingrid Bergman and

904
00:42:51,760 --> 00:42:56,120
Speaker 1: with Grace Kelly, neither reciprocated excellent movie. Yeah, and and

905
00:42:56,360 --> 00:42:59,960
Speaker 1: Ingrid Bourbon great actress, she did not reciprocate in Hitchcock

906
00:43:00,480 --> 00:43:03,000
Speaker 1: falling in love with her. So Alfred started telling all

907
00:43:03,000 --> 00:43:05,360
Speaker 1: of their colleagues a story that after a dinner party,

908
00:43:05,400 --> 00:43:08,760
Speaker 1: the famously beautiful Starlett had cornered this elderly obese director

909
00:43:08,800 --> 00:43:11,080
Speaker 1: in his bedroom and refused to leave until he fucked her.

910
00:43:11,760 --> 00:43:13,920
Speaker 1: He starts telling this to other people in the industry

911
00:43:13,920 --> 00:43:16,480
Speaker 1: and spreading this rumor. Now I think most people probably

912
00:43:16,480 --> 00:43:18,719
Speaker 1: figured out it was a lie because Alfred Hitchcock had

913
00:43:18,719 --> 00:43:21,160
Speaker 1: all of the game of a stale sandwich, but he

914
00:43:21,280 --> 00:43:23,920
Speaker 1: repeatedly insisted that it was the god's honest truth to

915
00:43:23,920 --> 00:43:27,440
Speaker 1: anyone who would listen. Bergman took it in stride. Quote,

916
00:43:27,480 --> 00:43:29,200
Speaker 1: I never got angry when it came back to me.

917
00:43:29,280 --> 00:43:31,480
Speaker 1: People will believe what they want to believe. I loved him,

918
00:43:31,480 --> 00:43:34,840
Speaker 1: but not in his way. So she's handled it very classily.

919
00:43:34,920 --> 00:43:37,840
Speaker 1: And both both Grace Kelly and Ingrid Bergman spoke fondly

920
00:43:37,840 --> 00:43:41,319
Speaker 1: of Hitchbock Hitchcock Hitchbock and seemed to believe that his

921
00:43:41,400 --> 00:43:45,080
Speaker 1: genius outweighed his more odious qualities right well, But Bergman

922
00:43:45,200 --> 00:43:48,879
Speaker 1: was also like she she worked very well with director. Yeah, yeah,

923
00:43:49,000 --> 00:43:52,040
Speaker 1: and she and again she was established by the time.

924
00:43:52,760 --> 00:43:55,000
Speaker 1: You know, he definitely helped her career, but she she

925
00:43:55,160 --> 00:43:58,080
Speaker 1: was on a pretty solid track but they started. She

926
00:43:58,120 --> 00:44:01,080
Speaker 1: was also she was pretty big in Europe before she Yeah,

927
00:44:01,120 --> 00:44:03,000
Speaker 1: So these were and again these were established when these

928
00:44:03,000 --> 00:44:05,400
Speaker 1: were confident women. These were people who knew their place

929
00:44:05,440 --> 00:44:07,640
Speaker 1: in the industry and who knew how to like, had

930
00:44:07,640 --> 00:44:11,200
Speaker 1: their own relationships with other people, and they were unhitched

931
00:44:11,200 --> 00:44:15,680
Speaker 1: cock able. They were unhitchcock able, unhitchcock able exactly, which

932
00:44:15,800 --> 00:44:18,160
Speaker 1: Alfred would have made that into a different kind of

933
00:44:18,160 --> 00:44:21,719
Speaker 1: pun but we're not going to do that now. Both

934
00:44:21,880 --> 00:44:24,640
Speaker 1: women he couldn't fu yeah, exactly, and he couldn't funk

935
00:44:24,719 --> 00:44:27,879
Speaker 1: with because they would push back like Room pushed back.

936
00:44:27,920 --> 00:44:29,920
Speaker 1: And that's the thing. If you push back at Hitchcock,

937
00:44:30,000 --> 00:44:35,160
Speaker 1: he'll stop because he doesn't like getting pushed at. Classic exactly.

938
00:44:35,360 --> 00:44:38,280
Speaker 1: Both actresses maintained good boundaries with the director and eventually

939
00:44:38,320 --> 00:44:40,240
Speaker 1: moved on from him to the rest of their lives.

940
00:44:40,360 --> 00:44:43,360
Speaker 1: Hitchcock remained obsessed with the idea of finding and molding

941
00:44:43,360 --> 00:44:46,880
Speaker 1: the perfect leading lady. What hitch wanted. What he craved

942
00:44:47,040 --> 00:44:49,080
Speaker 1: was a young woman to act as his blank slate,

943
00:44:49,280 --> 00:44:52,080
Speaker 1: someone without a career, separate from him and his genius,

944
00:44:52,080 --> 00:44:54,680
Speaker 1: someone he could craft and control. This was not a

945
00:44:54,680 --> 00:44:56,759
Speaker 1: benign desire, and in fact, it seems to have been

946
00:44:56,760 --> 00:44:59,520
Speaker 1: inextricably tied with a great deal of anger Hitchcock felt

947
00:44:59,520 --> 00:45:02,879
Speaker 1: towards the email gender. For example, Hitchcock had a couple

948
00:45:02,920 --> 00:45:05,040
Speaker 1: of quotes he was fond of dropping during interviews at

949
00:45:05,080 --> 00:45:08,440
Speaker 1: this time. I always believe that in following the advice

950
00:45:08,440 --> 00:45:11,040
Speaker 1: of the playwright sar Dough. He said, torture the woman.

951
00:45:11,239 --> 00:45:15,240
Speaker 1: The trouble today is we don't torture women enough. What, Yeah, Hitchcock,

952
00:45:15,640 --> 00:45:18,520
Speaker 1: that's the trouble with today is the trouble with today.

953
00:45:19,360 --> 00:45:21,239
Speaker 1: You know, the problem with today is not enough, not

954
00:45:22,360 --> 00:45:24,840
Speaker 1: too much, too easy for him out everybody, too easy.

955
00:45:25,040 --> 00:45:28,000
Speaker 1: They're all happy and doing well. That's not good. That's

956
00:45:28,000 --> 00:45:30,359
Speaker 1: not going to be good for art. He was also

957
00:45:30,400 --> 00:45:33,680
Speaker 1: fond of paraphrasing Oscar Wilde and saying, you destroy the

958
00:45:33,760 --> 00:45:36,920
Speaker 1: thing you love. This was particularly quoted by Hitchcock in

959
00:45:37,000 --> 00:45:40,160
Speaker 1: reference to his female leads. There's a guy to quote.

960
00:45:40,200 --> 00:45:42,840
Speaker 1: There's there's a guy to quote Oscar Wilde. Yeah, because

961
00:45:42,880 --> 00:45:44,359
Speaker 1: you know he was all right. He was, he was.

962
00:45:44,560 --> 00:45:47,759
Speaker 1: He seemed like a well balanced fellow. Hitchcock and his

963
00:45:47,800 --> 00:45:52,040
Speaker 1: wife were professional collaborators for their entire lives together, or

964
00:45:52,080 --> 00:45:54,600
Speaker 1: for their entire relationship pretty much. Her editorial skill was

965
00:45:54,600 --> 00:45:56,279
Speaker 1: a big part of his success, and in fact, she

966
00:45:56,400 --> 00:45:58,880
Speaker 1: essentially gave up her own shot at a great independent

967
00:45:58,920 --> 00:46:01,759
Speaker 1: career in order tomb again his Their relationship was a

968
00:46:01,800 --> 00:46:04,080
Speaker 1: long one, but it seems to have been almost entirely celibate.

969
00:46:04,160 --> 00:46:07,319
Speaker 1: Hitchcock regularly claimed that his daughter Patricia's conception was the

970
00:46:07,360 --> 00:46:09,799
Speaker 1: only time he actually had intercourse, since he was too

971
00:46:09,800 --> 00:46:13,480
Speaker 1: obese to enjoy sex. Robert Boyle, one of his art directors,

972
00:46:13,600 --> 00:46:15,680
Speaker 1: recalled he once said to me, I have all the

973
00:46:15,719 --> 00:46:18,319
Speaker 1: feelings of everyone encased in an armor of fat. He

974
00:46:18,360 --> 00:46:20,480
Speaker 1: felt he was not attractive physically, but had all those

975
00:46:20,520 --> 00:46:22,799
Speaker 1: same yearnings and was frustrated by what he perceived as

976
00:46:22,840 --> 00:46:26,120
Speaker 1: a difficulty, if not an impossibility, which was to experience

977
00:46:26,160 --> 00:46:29,799
Speaker 1: requited love. Why why didn't he just lose weight? I mean,

978
00:46:30,200 --> 00:46:33,600
Speaker 1: like health in the sixties was even butter Okay, yeah,

979
00:46:33,600 --> 00:46:38,200
Speaker 1: that's true. Yeah, but he feels for the guy. I

980
00:46:38,200 --> 00:46:41,000
Speaker 1: mean he comes from England where it probably wasn't as

981
00:46:41,040 --> 00:46:45,319
Speaker 1: like stigmatized stigmatizes America. Yeah, exactly, And I think you're right.

982
00:46:45,360 --> 00:46:48,399
Speaker 1: I think around that time Americans started thinking about it. Yeah,

983
00:46:48,440 --> 00:46:50,520
Speaker 1: but it was still like very the idea of health,

984
00:46:50,560 --> 00:46:52,520
Speaker 1: like we really didn't know much about how to it

985
00:46:52,560 --> 00:46:55,279
Speaker 1: didn't come along and probably till the late seventies. Yeah. Yeah,

986
00:46:55,320 --> 00:46:57,160
Speaker 1: that that's why there's that joke and Anchorman where he

987
00:46:57,200 --> 00:46:59,560
Speaker 1: talks about like jogging as if it's this weird. Things

988
00:47:00,000 --> 00:47:01,520
Speaker 1: really didn't like the idea that you would just go

989
00:47:01,640 --> 00:47:04,200
Speaker 1: run like that's a funny joke. It is a funny joke,

990
00:47:04,239 --> 00:47:06,160
Speaker 1: but it was like also a real thing that was

991
00:47:06,600 --> 00:47:08,759
Speaker 1: people had to be like, no, actually this stops us

992
00:47:08,760 --> 00:47:12,160
Speaker 1: from dying as soon all this bacon's killing our hearts.

993
00:47:11,920 --> 00:47:14,839
Speaker 1: There's a there's like an Altman movie not seen called

994
00:47:14,880 --> 00:47:18,320
Speaker 1: Health where it made fun of health health conscious people

995
00:47:19,000 --> 00:47:21,040
Speaker 1: showed them as like fanatics. Well, and that's why you

996
00:47:21,040 --> 00:47:22,840
Speaker 1: even get a little bit of Donald Trump, because he

997
00:47:22,880 --> 00:47:25,200
Speaker 1: believes that like exercising is bad for you, and your

998
00:47:25,239 --> 00:47:27,480
Speaker 1: body only has so much energy over the course of

999
00:47:27,480 --> 00:47:29,279
Speaker 1: your life and you're just wasting it by and he

1000
00:47:29,400 --> 00:47:31,120
Speaker 1: like it's one of those things like you get raised

1001
00:47:31,160 --> 00:47:34,399
Speaker 1: in that sort of time before it's common always think

1002
00:47:34,400 --> 00:47:38,880
Speaker 1: it's weird if you don't trust doctors. Um. So, for years,

1003
00:47:38,920 --> 00:47:41,840
Speaker 1: Hitchcock replaced sex with the joy he got from torturing

1004
00:47:41,840 --> 00:47:43,799
Speaker 1: women who started in his movies, or at least that's

1005
00:47:43,800 --> 00:47:46,200
Speaker 1: one way to look at things. In nineteen thirty five,

1006
00:47:46,239 --> 00:47:49,920
Speaker 1: while filming The twenty nine Steps, Hitchcock thirty nine steps.

1007
00:47:49,920 --> 00:47:52,319
Speaker 1: Sorry that my mistyping. That's why you're here, That's why

1008
00:47:52,360 --> 00:47:55,719
Speaker 1: I'm here. Yeah, Hitchcock handcuffed Madeline Carol to her co

1009
00:47:55,840 --> 00:47:58,200
Speaker 1: star with cuffs that were purposely tight enough to cause

1010
00:47:58,280 --> 00:48:00,680
Speaker 1: her pain. He claimed he lost the key, forcing him

1011
00:48:00,719 --> 00:48:03,080
Speaker 1: to stay that way for hours. He also had Carol

1012
00:48:03,120 --> 00:48:06,040
Speaker 1: repeatedly dragged across the ground, probably more than was really

1013
00:48:06,080 --> 00:48:08,200
Speaker 1: necessary to get the shots he needed for the film

1014
00:48:08,719 --> 00:48:11,360
Speaker 1: during how I can't watch it the same way. During filming,

1015
00:48:11,360 --> 00:48:14,040
Speaker 1: he called the lead actress the Birmingham tart and said

1016
00:48:14,120 --> 00:48:17,040
Speaker 1: during an interview after the movie, nothing pleases me more

1017
00:48:17,080 --> 00:48:19,359
Speaker 1: than to knock the lady likeness out of them. Oh

1018
00:48:19,400 --> 00:48:22,360
Speaker 1: my god. Yeah, I mean that's a good film too.

1019
00:48:22,400 --> 00:48:24,480
Speaker 1: But yeah, I mean he never made I mean he

1020
00:48:24,520 --> 00:48:28,000
Speaker 1: made good films. Yeah. In nineteen sixty, while filming Psycho,

1021
00:48:28,080 --> 00:48:30,680
Speaker 1: he forced Janet Lee to spend six straight days standing

1022
00:48:30,680 --> 00:48:33,120
Speaker 1: in the shower underwater for hours at a time, presume movie,

1023
00:48:33,120 --> 00:48:35,080
Speaker 1: because he thought that was necessary to get a truly

1024
00:48:35,120 --> 00:48:39,000
Speaker 1: believable performance out of her shower acting. Yeah, shower acting,

1025
00:48:39,000 --> 00:48:40,799
Speaker 1: And I mean it's a great scene. To this day,

1026
00:48:40,920 --> 00:48:44,000
Speaker 1: Lee refuses to take showers, only using baths because she's

1027
00:48:44,080 --> 00:48:46,120
Speaker 1: she's still alive. I think so, at least she was

1028
00:48:46,160 --> 00:48:47,960
Speaker 1: when I read this. I mean, she may have died

1029
00:48:48,040 --> 00:48:50,399
Speaker 1: since I'm not sure. I don't know. Yeah, I think

1030
00:48:50,440 --> 00:48:53,359
Speaker 1: she might still be alive, though maybe Tippy headrans still alive.

1031
00:48:53,760 --> 00:48:56,000
Speaker 1: Talk about her in a little bit. Sophie's doing the

1032
00:48:56,440 --> 00:49:01,359
Speaker 1: cutthroat when kick off? Who does oh two thousand four?

1033
00:49:01,520 --> 00:49:05,560
Speaker 1: Jesus wellfe Yeah, I mean it's because like nowadays, you

1034
00:49:05,600 --> 00:49:08,279
Speaker 1: hear about it everywhere, and back then you probably did

1035
00:49:08,360 --> 00:49:11,520
Speaker 1: it two thousand four. Yeah, and we were invading a

1036
00:49:11,520 --> 00:49:13,719
Speaker 1: couple of places at that probably got kicked to the

1037
00:49:13,719 --> 00:49:17,160
Speaker 1: back burner. So by nineteen sixty one, Alfred Hitchcock had

1038
00:49:17,160 --> 00:49:19,920
Speaker 1: a well established reputation of being particularly brutal to his

1039
00:49:19,960 --> 00:49:23,200
Speaker 1: female characters and sometimes the actresses who portrayed them. This

1040
00:49:23,200 --> 00:49:25,719
Speaker 1: would all reach a boiling point when Alfred finally met

1041
00:49:25,760 --> 00:49:28,560
Speaker 1: the perfect focus for his dream of creating the perfect actress,

1042
00:49:28,719 --> 00:49:31,799
Speaker 1: a thirty two year old model named Tippi Hedren. And

1043
00:49:31,840 --> 00:49:34,400
Speaker 1: that's what we're going to talk about in part to

1044
00:49:34,800 --> 00:49:39,000
Speaker 1: you know who she's the mom of, right, Tippi Hedren? Yeah? No,

1045
00:49:39,360 --> 00:49:42,360
Speaker 1: Melanie Griffith, Melanie Griffith, Okay, cool. She was also in

1046
00:49:42,360 --> 00:49:45,600
Speaker 1: the movie where Everybody Got Attacked by Lions, which this

1047
00:49:45,640 --> 00:49:49,440
Speaker 1: will tie into. Yeah, that movie is amazing. It is incredible.

1048
00:49:49,520 --> 00:49:52,080
Speaker 1: Yeah you saw it. I've seen parts of it. Yeah. God,

1049
00:49:53,000 --> 00:49:56,920
Speaker 1: so tense that movie. Yeah, it's like thirty lions attacking.

1050
00:49:56,960 --> 00:49:59,800
Speaker 1: They were like a hundred something serious injuries during the

1051
00:50:00,360 --> 00:50:03,800
Speaker 1: I know it's great. It's got her face torn up. Yeah,

1052
00:50:03,920 --> 00:50:07,800
Speaker 1: they needed major reconstructive surgery. Yeah. Great movie, great movie,

1053
00:50:07,840 --> 00:50:10,879
Speaker 1: great movie, absolutely entertaining. We're going to hear about something

1054
00:50:10,920 --> 00:50:13,480
Speaker 1: that happened to Tippy Hedren. That's worse than filming the

1055
00:50:13,520 --> 00:50:15,800
Speaker 1: movie where a hundred people got I know it horribly

1056
00:50:15,840 --> 00:50:18,480
Speaker 1: injured by big cats. Oh it's bad and uh, but

1057
00:50:18,560 --> 00:50:21,640
Speaker 1: that that comes next week. So before we kick off

1058
00:50:21,800 --> 00:50:23,919
Speaker 1: and and come back on Thursday, you want to plug

1059
00:50:23,960 --> 00:50:29,200
Speaker 1: your plug double sure. I have a podcast on Starburn's

1060
00:50:29,280 --> 00:50:33,040
Speaker 1: audio network called Gone Riffin with Rich Fulture and where

1061
00:50:33,040 --> 00:50:35,680
Speaker 1: every Wednesday you can find us wherever you find podcasts.

1062
00:50:36,040 --> 00:50:39,920
Speaker 1: Podcast That's right, it's not like there's no theme. Yeah,

1063
00:50:39,920 --> 00:50:42,319
Speaker 1: he gets mad when I talk about movies. Well yeah,

1064
00:50:42,320 --> 00:50:46,040
Speaker 1: I mean that sounds great. Yeah, but his anger is funny. Yeah, anger,

1065
00:50:46,120 --> 00:50:48,880
Speaker 1: anger is almost always funny. Hitchcock taught us that exactly,

1066
00:50:48,920 --> 00:50:51,120
Speaker 1: which is why you should always change your friends up

1067
00:50:51,160 --> 00:50:54,000
Speaker 1: and feed them dangerous doses of laxatives. Oh yeah, I mean,

1068
00:50:54,080 --> 00:50:58,880
Speaker 1: nothing more fun. Nothing. Oh what a good time. We

1069
00:50:58,920 --> 00:51:03,720
Speaker 1: have cameras you, Uh, the angles get all the angles

1070
00:51:03,719 --> 00:51:05,960
Speaker 1: really get like a good look at this person, just

1071
00:51:06,160 --> 00:51:08,279
Speaker 1: kind of like the matrix the inside. Yeah, it's like

1072
00:51:08,320 --> 00:51:11,759
Speaker 1: the spinning. The best pranks are almost indistinguishable from the

1073
00:51:11,800 --> 00:51:14,600
Speaker 1: things done in Bashar al Assad's prison cells. That's how

1074
00:51:14,600 --> 00:51:17,520
Speaker 1: I've always said that. Yeah, I'm Robert Evans. This has

1075
00:51:17,520 --> 00:51:19,400
Speaker 1: been behind the bastard. You can find me on Twitter

1076
00:51:19,440 --> 00:51:21,000
Speaker 1: at I right. Okay, I have a book called A

1077
00:51:21,000 --> 00:51:23,880
Speaker 1: Brief History of Ice where experiment on myself with dangerous

1078
00:51:23,920 --> 00:51:26,040
Speaker 1: drugs and send one of my friends to the hospital.

1079
00:51:26,120 --> 00:51:28,920
Speaker 1: So really check that out. Oh it's a hoot. Uh,

1080
00:51:29,120 --> 00:51:32,239
Speaker 1: this sounds interesting, Thank you, it is. I did that

1081
00:51:32,280 --> 00:51:35,840
Speaker 1: once with that drug salvia. I let people film me

1082
00:51:35,880 --> 00:51:37,440
Speaker 1: while I was on it. Oh that sounds like a

1083
00:51:37,440 --> 00:51:39,600
Speaker 1: bad idea. It was a very bad idea. That sounds

1084
00:51:39,600 --> 00:51:42,600
Speaker 1: like a bad idea. Well, anyway, that's a whole another story.

1085
00:51:42,640 --> 00:51:44,480
Speaker 1: I mean, I've got a great video of me doing

1086
00:51:44,560 --> 00:51:46,719
Speaker 1: the same. It's it's great. I love it when people

1087
00:51:46,760 --> 00:51:49,160
Speaker 1: take drugs on cameras. Oh it's awesome. Yeah, it's one

1088
00:51:49,200 --> 00:51:51,680
Speaker 1: friend he freaked out and ran down the streets screaming,

1089
00:51:51,800 --> 00:51:54,320
Speaker 1: did you get it on camera? I don't think so, man,

1090
00:51:54,760 --> 00:51:58,080
Speaker 1: we did get him before he screamed. Okay, it's really

1091
00:51:58,520 --> 00:52:00,440
Speaker 1: I'm a I'm a big believer that we should do

1092
00:52:00,480 --> 00:52:03,600
Speaker 1: that to presidential candidates having a debate, which is, we've

1093
00:52:03,640 --> 00:52:06,080
Speaker 1: given you both acid and now you're gonna sit under

1094
00:52:06,160 --> 00:52:08,319
Speaker 1: cameras while it comes up, and we're all just gonna

1095
00:52:08,320 --> 00:52:10,480
Speaker 1: pick you apart as human beings that you know. That

1096
00:52:10,520 --> 00:52:13,719
Speaker 1: sounds like an awesome futuristic movie. Yeah, it would be

1097
00:52:13,719 --> 00:52:16,200
Speaker 1: a great way to run running Man anyway. We have

1098
00:52:16,440 --> 00:52:20,160
Speaker 1: t shirts, phone cases, We sell pre fabricated bunkers for

1099
00:52:20,280 --> 00:52:24,360
Speaker 1: waiting out the Apocalypse, branded bunkers all on t public

1100
00:52:24,400 --> 00:52:27,680
Speaker 1: dot com. Behind the Bastards, Sophie, you were signaling something

1101
00:52:27,760 --> 00:52:30,720
Speaker 1: that drink mugs. We have drink mugs. We have mugs

1102
00:52:30,719 --> 00:52:33,120
Speaker 1: that you can put drinks in in your bunkers that

1103
00:52:33,160 --> 00:52:35,200
Speaker 1: you also buy from us. So check all that out.

1104
00:52:35,239 --> 00:52:38,280
Speaker 1: Behind the Bastards t Public, We're on Twitter and Instagram

1105
00:52:38,280 --> 00:52:40,360
Speaker 1: at a Bastards pod. We have a website Behind the

1106
00:52:40,360 --> 00:52:42,160
Speaker 1: Bastards at comm with all the sources for this. And

1107
00:52:42,160 --> 00:52:44,000
Speaker 1: that's all. I'm gonna say until we say Part two,

1108
00:52:44,040 --> 00:52:45,600
Speaker 1: which is gonna come out on Thursday for you, but

1109
00:52:45,600 --> 00:52:46,719
Speaker 1: we're going to record right now