Hitchcock Truffaut (Cine)

ISBN: 8446000466
ISBN 13: 9788446000464
By: François Truffaut

Check Price Now


Biography Cinema Currently Reading Favorites Film Movies Non Fiction Nonfiction To Read

About this book

Any book-length interview with Alfred Hitchcock is valuable, but considering that this volume's interlocutor is François Truffaut, the conversation is remarkable indeed. Here is a rare opportunity to eavesdrop on two cinematic masters from very different backgrounds as they cover each of Hitch's films in succession. Though this book was initially published in 1967 when Hitchcock was still active, Truffaut later prepared a revised edition that covered the final stages of his career. It's difficult to think of a more informative or entertaining introduction to Hitchcock's art, interests, and peculiar sense of humor. The book is a storehouse of insight and witticism, including the master's impressions of a classic like Rear Window ("I was feeling very creative at the time, the batteries were well charged"), his technical insight into Psycho's shower scene ("the knife never touched the body; it was all done in the [editing]"), and his ruminations on flops such as Under Capricorn ("If I were to make another picture in Australia today, I'd have a policeman hop into the pocket of a kangaroo and yell 'Follow that car!'"). This is one of the most delightful film books in print. --Raphael Shargel

Reader's Thoughts


With supplementary details thanks to Armchair Hitchcock Scholar and friend Chuck M, this book becomes a fascinating window into the revisionist legacy that Hitchcock would create for himself. Truffaut is a great interviewer, using his keen observations and flattery to get Hitchcock to open up about his creative process and eventually, become very self-critical. Beyond its relevance as a synopsis of Hitchcock's catalogue, I think this book provides an amazing document for how the movie industry used to operate. Production companies seem to have a stable of actors that they treat like race horses, and cinema is treated as lowbrow entertainment. It hardly had the prestige it has today. Additionally, the way both directors speak of relations between the sexes and how to capture them on screen - and they do quite often - is a great reminder of how repressed this country was just a short while ago. This was my first cinema studies read. I really enjoyed it.


Film director Mat Whitecross has chosen to discuss François Truffaut’s Hitchcock: the definitive study of Alfred Hitchcock, on  FiveBooks as one of the top five on his subject – Film Directing, saying that:  “…Hitchcock is a great artist, but he hides his art behind these thrillers. So hearing Truffaut, who is another one of my favourite directors, talking to Hitchcock and having this conversation where they start to talk about his career in terms of art, rather than just entertainment, is fascinating. It is one of the best books on film ever written..…”.  The full interview is available here: The full interview is available here: http://thebrowser.com/books/interview... 


IMPRESCINDIBLEEs un extraordinario diálogo entre 2 genios del cine. Y esto no quiere decir que sea una lectura para entendidos, al contrario es un acercamiento a la figura de Hitchcock, como ser humano y como cineasta. Truffaut hace un repaso cronológico a la extensa filmografía de Hitchcock (excepto 2 películas, he visto todas), desde sus inicios en el cine mudo en Inglaterra hasta “La trama”, su último film. De esta infinidad de preguntas, se puede sacar una pequeña biografía del director, con sus miedos y fobias (sobre todo a la policía y la cárcel), su obsesión por las rubias y el sexo, sus bromas y su gran sentido del humor, en especial humor negro. Sobre sus películas habla con gran detalle, describe sus impresiones que tiene de cada una, las técnicas que utilizó (muy curioso es la forma de filmar en “Psicosis” y “La soga”), la elección de los guiones (muchos están basados en novelas), la relación con los actores, su manera de crear el suspense, la situación social del momento de cada película, las bandas sonoras que son muy importantes, los “Mac Guffin”, etc. Hay una gran cantidad de anécdotas de su vida personal, así como con los actores y el rodaje. En definitiva, aparte de aprender de cine y sobre el “universo hitchcokiano”, es una lectura entretenida y muy agradable. Totalmente recomendable.

Lynne King

This book is about the two film directors Hitchcock and Truffaut. It is a wonderful book and Jeffrey has written a superb review today on this.So my advice is to read Jeffrey's review and then purchase this book. It is an historical document of the film world.A gem to have.

Mohamed Elmasry

_ من أهم الكُتب السينمائية اللي قريتها في حياتي، ومن أهم تَجارب القراءة اللي مرَّت عليَّ خلال العامين الأخيرين، وفي آخره.. بيتحوَّل بشكل مُدهش لمرثيَّة عَظيمة عن العَجَز والشيخوخة- أهميته السينمائية: إن من أكتر الحاجات اللي بتعلّم بشأن السينما هو رؤية صناع الأفلام وهما بيحكوا عن أفلامهم، كان بيفكَّر في إيه لما صور المَشهد الفلاني، أو خده بالزاوية الفلانية، ليه قطع القطعة دي هِنا، هيتشكوك شخص غني جداً بالقيمة، الطريقة اللي طوَّر بيها السينما وكان بيكتشفها، في مُقابل حِفاظه الدائم على خط موصول مع الناس، ده كان عظيم جداً ومُفيد جداً- تجربة القراءة: إني كُنت بَشوف الأفلام قبل ما أقرا الأجزاء اللي تخصَّها، أو أرجع للمشاهد اللي هو بيتكلم عنها، ده خلَّاني أقرا الكتاب في قرابة الشهر، بس كمان كان مُمتع لدرجة لا تُوصَف- الحوار بيتوقف في سنة 1964، قبل 16 سنة تقريباً من وفاة هيتشكوك، وفي الطبعة اللي قريتها.. كان في آخره فيه مَقال طويل جداً، قرابة الخمسين صفحة، كتبه تروفو بعد موت الراجل، بيحكي فيه عن السنوات الأخيرة في حياته، اللي كانت الأصعب على المستوى العملي، كيف كان العالم يتغيَّر، والمزاج العام يميل ناحية التلفزيون، والقواعد اللي تعامل بيها وأسسها هيتشكوك طول حياته بيتم نسفها من قِبل الشركات المُنتجة، إزاي كان بيتعرَّض للضغط منهم بشكل أكثر من المُعتاد، وإزاي كان بيحاول يعمل أفلام، وليه الأفلام كانت بتفشل لإن الراجل، ببساطة، بيكبر، وإزاي دي كانت فكرة كابوسية بالنسبة له، وكل فشل مُحْتَمَل هو ألم لا يوصفكنت بفكر وقتها إن الكتاب كله عمل أدبي، رواية مَسرودة بشكل غير مُعتاد، وبعد ما تابعت حياة هيتشكوك على مدار خمسين سنة، دخوله السينما، صعود اسمه، تحوله لأنجح مخرج هوليوودي، لحظات النجاح والفشل، بييجوا آخر 50 صفحة دول كفصل أخير في الرواية، بمُعايشة مُدْهِشَة لكل المشاعر اللي بيمر بيها راجل عجوز في سنينه الأخيرة"كيف كان علينا أن نتعامل مع شيخوخة رجل عظيم؟"ألف رَحمة ونورملحوظة شخصية: ده أول ريفيو أكتبه هنا بعد 8 شهور تقريباً من التوقُّف#فبراير 2014

Kyle Sullivan

I just reread this book, because it shifted my focus from being an artist to being a filmmaker (and now writer), and I'm not overstating. I was making a living designing and building backdrops for visual merchandising and doing display windows in San Antonio, as well as commissioned works of art, when I found an early edition of Truffaut's interview with Hitchcock and got my first idea of how films were made. In fact, this book should be a primer for all film classes; once you've read it, you've got a good foundation in how to make a movie.Now I'm not talking about the technical aspects of moviemaking -- lighting, sound, working with today's actors unlike yesterdays stars (who weren't really all that less difficult to deal with), things like that. I mean the visual needs and limitations of telling a story on film. Hitchcock and Truffaut do a lot of commenting on how to use images to forward the story and how much more important that in in this medium...and how you can trick the audience but you cannot lie to them.For instance, when he made "Sabotage" in 1936, Hitch has an anarchist give an innocent boy a bomb to carry to another location. The kid thinks it's just a reel of film in a movie canister. The bomb is set to go off at 1pm, during a parade, but the boy's delayed. He gets on a bus to make up time, sits next to a nice old lady and a puppy and plays with it. But the bus is caught in traffic (due to that parade) and the suspense builds and builds and builds until the bomb goes off, killing everyone on the bus. It's a horrifying reminder of what terrorism is all about.The audience was furious and the movie was a flop. Why? Because he'd ostensibly offered up a piece of fun entertainment and then, without warning, shoved the audience's face in the brutality of life. You don't tell someone you'll give them a kiss...then punch them in the face and assume they will accept that. I've seen other movies make this same mistake, and even though they're fine films they crash and burn with the moviegoers. Hitchcock would still toy with the audience's emotions in movies like "Vertigo" (which hurt its box office but not its standing as a work of art) and "Psycho" (where he was a bit more careful in leading up to the famous shower sequence), but he never flat-out lied to them, again.But then, Hitchcock knew film was an odd art form that didn't have the full freedom of true art and shouldn't be taken too seriously. Too many people were involved in its creation, and the audience is too important a part of the final result. This book backs up his assertions about that. His famous quote, in fact, is -- "It's only a movie." But by the time you've finished reading this extended version of the first edition of the book, you'll see that the medium is also one that is fit for artists who truly understand it. Reading this book will help them find that understanding.

Angrod Mtd

Se necesita conocer bien la filmografía de Hitchcock para este libro. A pesar de tantas referencias, entre comentarios y conclusiones lo que hay de las voces de Truffaut y Hitchcock son auténticas joyas.


What a treat! I knew that this book would be really interesting but was afraid it might be kind of dry or technical. Not the case at all. Truffaut's genuine respect and affection for Hitchcok permeate these interviews and they come off as informal and informative. What's particularly interesting is Hitchcock's alternative pride and occassional indifference to his work. Allowing Hithcock to speak in his own works gives the reader some genuine insight into the man and his metier that doesn't always come across in biography. I'm now an even fan or Truffaut and Hitchcock (is that's possible)!


Interesting and informative discussion sessions with Master of Suspense Alfred Hitchcock. There are a few humorous moments but I wouldn't exactly call this a fun read. It can be dry reading at times especially in the beginning and when they engage in technical talk. The book is divided into sections covering different periods of Hitchcock's career. You get a little insight -- not a lot -- into some of Hitchcock's methods and thought processes. There are bits of information on just about all of Hitchcock's films -- certainly the better known ones -- ranging from casting choices to production anecdotes to film techniques and even Hitchcock's personal opinion as to why a particular film did or didn't work for the audience. I particularly liked when the discussion went to casting choices. In many cases (mostly some of his less successful later films) Hitchcock did not get the people he wanted in major roles and he discusses why he believes some of these actors and actresses simply did fit the role. This is done in a matter of fact way, not in a gossipy or snide manner.Truffaut as interviewer (and obvious fan) seems to want to turn everything into a pontification on symbolism and the deeper meanings of everything. That can get wearying at times. If you're a even a casual fan of Mr. Hitchcock and his films you're almost certain to get something useful out of this book. If you are a devotee of the master I can almost guarantee you'll love it.

Nicholas Kobach

a conversation with two masters.


The definitive, film by film dissection of Hitch's films by fellow auteur Francois Truffaut. From his earliest British silent films to the classics Vertigo and Rear Window, down to the final chapters in the master's filmography, Truffaut manages to get the almost preternaturally diffident and private Hitchcock to open up and discuss the demons in his own life that gave notice to all of us of our own inner workings: jealousy, the wrongly accused innocent, obsession, split-personality, evil exposed . . . all of these dark themes pervaded Hitch's work, which still remained, even after the many murders and mayhems, immensely good-humored and fun. How did he do it? Read this book to find out.

Abdullah H.

Many times, I got chills as if I was hearing a voice from the grave...the voiceof Sir Alfred Hitchcock, 32 years after his death, giving you the do's and do not's of show biz.He is a great teacher...a great master. Thanks to my great friend Arda for giving me the gift of Hitch.

Shawn Nuzzo

This book will teach you more about the art of film making than 4 years (and $200,000) at NYU will.


François mainly plays interviewer role in this book, which is about all Hitchcock movies. They go chronologically from his first work to the last one and Truffaut asks questions. Although Truffaut sits in a dirver's seat of the conversation and jumps in with his opinions sometimes, there shall be no mistake, this book is NOT about Hitchcock and Truffaut movies, it's about Hitchcock movies.Personally I would prefer visa versa. I've been enjoying "400 blows" and "Jul et Jim" more then any Alfred Hitchcock movie (which I also love). But for someone who wants to get suspense basics in terms of constructing a scene, working with literature source, editing, this book is a must.


This was such a fascinating read, and worked brilliantly as a conversation between one fantastic director to another. It was so interesting to hear not only about the ins and outs of each of Hitchcock's films, but to hear his own personal story, what he thought and how he thought. There are so many themes and tropes analysed and discussed and its refreshing to hear them.I haven't read every single page due to not seeing every single Hitchcock film, but I devoured the pages discussing films that I have watched and become a fan of. A must read for any Hitchcock fan.

Share your thoughts

Your email address will not be published. Required fields are marked *