Alfred Hitchcock: A Rare Look Into the Filmmaker’s Creative Mind

Note: Appar­ent­ly this video is geo-restrict­ed by YouTube, and we had no way of know­ing this before pub­li­ca­tion. Our apolo­gies. To make it up to you, we have pulled togeth­er 21 Hitch­cock films that are freely avail­able online.

Alfred Hitch­cock takes us inside his cre­ative process in this fas­ci­nat­ing 1964 pro­gram from the Cana­di­an Broad­cast­ing Cor­po­ra­tion. “A Talk with Alfred Hitch­cock” is part inter­view, part mas­ter class in the craft of telling sto­ries on film.

The pro­gram was pro­duced in two seg­ments for the doc­u­men­tary series Tele­scope. It fea­tures scenes from Hitch­cock­’s movies, inter­views with his long-time col­lab­o­ra­tors, and glimpses of Hitch­cock at work on the set of his 1964 film Marnie. The inter­view, con­duct­ed by Fletch­er Markle, cov­ers a lot of ground. In episode one (above), Hitch­cock talks about the nature of art and the meth­ods he uses as a film­mak­er to manip­u­late the audi­ence’s emo­tions. The dis­cus­sion con­tin­ues in episode two (below) with more on Hitch­cock­’s career, along with insights into his rela­tion­ship with the pub­lic and his out­look on life. “A Talk with Alfred Hitch­cock” is a must-see for cin­e­ma lovers.

Relat­ed con­tent:

Alfred Hitch­cock: The Secret Sauce for Cre­at­ing Sus­pense

Alfred Hitch­cock Recalls Work­ing with Sal­vador Dali on Spell­bound

François Truf­faut’s Big Inter­view with Alfred Hitch­cock (Free Audio)

Everything is a Remix: An Exploration of Remixing as a Form of Creativity

In a series of short films, direc­tor Kir­by Fer­gu­son has been grad­u­al­ly mak­ing the case that “Every­thing is a Remix” — that great art does­n’t come out of nowhere. Artists inevitably bor­row from one anoth­er, draw­ing on past ideas and con­ven­tions, then turn­ing these mate­ri­als into some­thing beau­ti­ful and new. The first film high­light­ed the role of remix­ing in lit­er­a­ture and music. The sec­ond install­ment shift­ed the focus to film­mak­ing, while the third turned to tech­nol­o­gy, com­put­ers and user inter­faces. Today, Fer­gu­son released the fourth and final install­ment — “Sys­tem Fail­ure” — which makes the argu­ment that ever-expand­ing copy­right laws, despite what our Found­ing Fathers intend­ed, now tilt in favor of cor­po­rate inter­ests rather than the social good. And, more omi­nous­ly, they threat­en to put the brakes on an essen­tial part of the cre­ative process. If you’ve enjoyed this series, which you can watch in full above, you can sup­port Fer­gu­son’s next project, This is Not a Con­spir­a­cy The­o­ry, on Kick­Starter.

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The Weird World of Vintage Sports

British Pathé has released an inter­est­ing col­lec­tion of vin­tage news­reel clips high­light­ing ear­ly exper­i­ments in hybrid sports. Some of the feats are dar­ing, oth­ers mere­ly sil­ly. All are fun to watch.

News­reels of this type were an impor­tant part of the movie-going expe­ri­ence in the first half of the 20th cen­tu­ry, often fea­tur­ing cov­er­age of news, enter­tain­ment, cul­ture and sports. Some reels were pack­aged into reg­u­lar­ly appear­ing “cin­emagazines” like Pathé Pic­to­r­i­al, a mov­ing-pic­ture ana­logue of the illus­trat­ed mag­a­zines of the day.

The reel above, shot in Bavaria in 1955, expos­es the “Most Dan­ger­ous Sport in the World.” Motor ski­ing, also known as “motor­ized ski­jor­ing,” involves ski­iers being pulled at high speeds over ice and snow by cars or motor­cy­cles. You can scroll down to watch a few more of our favorites, or access the whole col­lec­tion on YouTube, at the British Pathé Sport­ing His­to­ry chan­nel.

Cycle Skat­ing, Paris, 1923:

Ten­nis on Ice, Amer­i­ca, 1931:

Sum­mer Ski­ing on the Boule­vards, Paris, 1930:

Blimp Water Ski­ing, 1932:

Mr. Happy Man


Matt Mor­ris, an award-win­ning film­mak­er liv­ing in Win­ter Park, Flori­da, came across John­ny Barnes in the same way he has dis­cov­ered all of his film sub­jects — by com­plete acci­dent. One day, while flip­ping through images on Flickr, Mor­ris stum­bled upon a tourist’s pho­to of the 88-year-old Bermu­di­an. He then read the cap­tion attached to the pho­to and knew he had to make a film about Barnes. “Aside from the fact that I tend to make films about elder­ly folks,” Mor­ris told us, “I’m fas­ci­nat­ed with peo­ple who have cho­sen unique ways of liv­ing their lives and as a result are irre­press­ibly hap­py.” “I want to make films about them in part so that I can learn from them.” And so, Matt head­ed to Bermu­da to cap­ture “Mr. Hap­py Man” work­ing his mag­ic on Crow Lane each day.

In Decem­ber, we fea­tured a 2008 film by Mr. Mor­ris — Pickin’ & Trim­min’, an ele­gant doc­u­men­tary that show­cas­es the blue­grass music made in a down-home North Car­oli­na bar­ber­shop. It’s not to be missed. Mor­ris’ next film, Mark & Lor­na, will take as its sub­ject a lounge singing duo based out of Orlan­do, Flori­da.

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Peter Sellers Reads The Beatles’ “She Loves You” in 4 Different Accents: Dr. Strangelove, Cockney, Irish & Upper Crust

Back in the late 1950s, George Mar­tin record­ed two albums with the late, great Peter Sell­ers. When Mar­tin start­ed work­ing with the Bea­t­les a few years lat­er, he put the actor in touch with the musi­cians, and they became fast friends. This rela­tion­ship paved the way for some good com­e­dy. As you might recall, Sell­ers made a cameo appear­ance on “The Music of Lennon and McCart­ney” in 1964, and read A Hard Day’s Night in a way that com­i­cal­ly recalls Lau­rence Olivier’s 1955 per­for­mance in Richard III. (Watch the spoof here.) And then, also dur­ing the mid 60s, Sell­ers record­ed a com­ic read­ing of She Loves You — once in the voice of Dr. Strangelove (above), again with cock­ney and upper-crusty accents (both right below), and final­ly with an Irish twist (the last item). The record­ings were all released posthu­mous­ly between 1981 and 1983 on albums no longer in cir­cu­la­tion.

Cock­ney

Upper Crust

Irish

 

Relat­ed Con­tent:

Here Comes The Sun: The Lost Gui­tar Solo by George Har­ri­son

Gui­tarist Randy Bach­man Demys­ti­fies the Open­ing Chord of ‘A Hard Day’s Night’

The Bea­t­les’ Rooftop Con­cert: The Last Gig

 

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Frankenstein: The First Adaptation of Mary Shelley’s Novel to Film (1910)

102 years ago, J. Sear­le Daw­ley wrote and direct­ed Franken­stein. It took him three days to shoot the short, 12-minute film (when most films were actu­al­ly shot in just one day). It marked the first time that Mary Shel­ley’s lit­er­ary cre­ation was adapt­ed to film. And, some­what notably, Thomas Edi­son had a hand (albeit it an indi­rect one) in mak­ing the film. The first Franken­stein was shot at Edi­son Stu­dios, the pro­duc­tion com­pa­ny owned by the famous inven­tor.

You can down­load the movie at the Inter­net Archive, or find it per­ma­nent­ly list­ed in our col­lec­tion of 725 Free Movies Online. (Also, you can find Mary Shel­ley’s clas­sic nov­el  in our col­lec­tion of Free Audio Books and Free eBooks.) To get more infor­ma­tion on Daw­ley’s short film, please vis­it The Franken­stein blog.

Relat­ed Con­tent:

The Birth of Film: 11 Firsts in Cin­e­ma

Watch Breaking the Code, About the Life & Times of Alan Turing (1996)

Updat­ed on Decem­ber 24, 2013: Yes­ter­day the British gov­ern­ment brought a sad chap­ter to a close when it final­ly issued a posthu­mous par­don to Alan Tur­ing, who was con­vict­ed in 1952 of break­ing laws that crim­i­nal­ized homo­sex­u­al­i­ty. The post you see below was orig­i­nal­ly writ­ten in Feb­ru­ary, 2012, when the ques­tion of Tur­ing being par­doned was still up for debate. The film fea­tured above is still very much worth your while.

This week the British gov­ern­ment final­ly par­doned Alan Tur­ing. One of the great­est math­e­mati­cians of the 20th cen­tu­ry, Tur­ing laid the foun­da­tions for com­put­er sci­ence and played a key role in break­ing the Nazi Enig­ma code dur­ing World War II. In 1952 he was con­vict­ed of homo­sex­u­al­i­ty. He killed him­self two years lat­er, after being chem­i­cal­ly cas­trat­ed by the gov­ern­ment.

On Mon­day, Jus­tice Min­is­ter Tom McNal­ly told the House of Lords that the gov­ern­ment of Prime Min­is­ter David Cameron stood by the deci­sion of ear­li­er gov­ern­ments to deny a par­don, not­ing that the pre­vi­ous prime min­is­ter, Gor­don Brown, had already issued an “unequiv­o­cal posthu­mous apol­o­gy” to Tur­ing. McNal­ly was quot­ed  in the Guardian:

A posthu­mous par­don was not con­sid­ered appro­pri­ate as Alan Tur­ing was prop­er­ly con­vict­ed of what at the time was a crim­i­nal offense. He would have known that his offense was against the law and that he would be pros­e­cut­ed. It is trag­ic that Alan Tur­ing was con­vict­ed of an offense which now seems both cru­el and absurd–particularly poignant giv­en his out­stand­ing con­tri­bu­tion to the war effort. How­ev­er, the law at the time required a pros­e­cu­tion and, as such, long-stand­ing pol­i­cy has been to accept that such con­vic­tions took place and, rather than try­ing to alter the his­tor­i­cal con­text and to put right what can­not be put right, ensure instead that we nev­er again return to those times.

The deci­sion came as a dis­ap­point­ment to thou­sands of peo­ple around the world who had peti­tioned for a for­mal par­don dur­ing the cen­te­nary year of Tur­ing’s birth. The Guardian also quot­ed an email sent by Amer­i­can math­e­mati­cian Den­nis Hejhal to a British col­league:

i see that the House of Lords reject­ed the par­don Feb 6 on what are for­mal grounds.

if law is X on date D, and you know­ing­ly break law X on date D, then you can­not be par­doned (no mat­ter how wrong or flawed law X is).

the real rea­son is OBVIOUS. they do not want thou­sands of old men say­ing par­don us too.

Efforts to obtain a par­don for Tur­ing are con­tin­u­ing. British cit­i­zens and UK res­i­dents can still sign the peti­tion.

To learn more about Tur­ing’s life, you can watch the 1996 BBC film Break­ing the Code (above, in its entire­ty), fea­tur­ing Derek Jaco­bi as Tur­ing and Nobel Prize-win­ning play­wright Harold Pin­ter as the mys­te­ri­ous “Man from the Min­istry.” Direct­ed by Her­bert Wise, the film is based on a 1986 play by Hugh White­more, which in turn was based on Andrew Hodge’s 1983 book Alan Tur­ing: The Enig­ma.

Break­ing the Code moves back and forth between two time frames and two very dif­fer­ent codes: one mil­i­tary, the oth­er social. The film runs 91 min­utes, and has been added to our col­lec­tion of Free Movies Online.

 

Werner Herzog Has a Beef With Chickens

It’s part of the beau­ty of Wern­er Her­zog. His films engross us, and the direc­tor pro­vides the enter­tain­ment on the side. You have seen him take a bul­let dur­ing an inter­view in LA. You’ve heard him read “Go the F**k to Sleep” in New York City. And, of course, you’ve watched him eat his shoe (lit­er­al­ly!) after loos­ing a bet to fel­low film­mak­er Errol Mor­ris. Well, today we give you the lat­est, great­est Her­zog moment — his 40 sec­ond dis­course on why he has a beef with chick­ens. h/t Coudal.com

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