Old Hollywood
Cinema
1900-1979

Nostalgia is a seductive liar - George Wildman Ball
Kim Novak & Alfred Hitchcock on the set of Vertigo (1958)
On Kim Novak’s performance: “You think you’re getting a lot. You’re not. It was very difficult to obtain what I wanted from [Kim Novak] because her head was full of her own ideas. But as long as I’m pleased with the result…In any case, the role was intended for another actress, Vera Miles. We were ready to begin filming…when, instead of seizing the opportunity of a lifetime, Vera Miles became pregnant. I ask you! I was offering Vera Miles a big part, the chance to become a beautiful, sophisticated blonde, a real actress. We’d have spent a heap of dollars on it, and she has the bad taste to get pregnant. I hate pregnant women, because then they have children.”
-Alfred Hitchcock 
“I don’t know if he ever liked me. I never sat down with him for dinner or tea or anything, except one cast dinner, and I was late to that. It wasn’t my fault, but I think he thought I had delayed to make a star entrance, and he held that against me. During the shooting, he never really told me what he was thinking. I know that Hitchcock gave me a lot of freedom in creating the character, but he was very exact in telling me exactly what to do. How to move, where to stand. I think you can see a little of me resisting that in some of the shots, kind of insisting on my own identity.”
-Kim Novak

Kim Novak & Alfred Hitchcock on the set of Vertigo (1958)

On Kim Novak’s performance: “You think you’re getting a lot. You’re not. It was very difficult to obtain what I wanted from [Kim Novak] because her head was full of her own ideas. But as long as I’m pleased with the result…In any case, the role was intended for another actress, Vera Miles. We were ready to begin filming…when, instead of seizing the opportunity of a lifetime, Vera Miles became pregnant. I ask you! I was offering Vera Miles a big part, the chance to become a beautiful, sophisticated blonde, a real actress. We’d have spent a heap of dollars on it, and she has the bad taste to get pregnant. I hate pregnant women, because then they have children.”

-Alfred Hitchcock

“I don’t know if he ever liked me. I never sat down with him for dinner or tea or anything, except one cast dinner, and I was late to that. It wasn’t my fault, but I think he thought I had delayed to make a star entrance, and he held that against me. During the shooting, he never really told me what he was thinking. I know that Hitchcock gave me a lot of freedom in creating the character, but he was very exact in telling me exactly what to do. How to move, where to stand. I think you can see a little of me resisting that in some of the shots, kind of insisting on my own identity.”

-Kim Novak

Kim Novak in Vertigo (1958, dir. Alfred Hitchcock)

Kim Novak in Vertigo (1958, dir. Alfred Hitchcock)

Vertigo, in spirals (1958, dir. Alfred Hitchcock)

Vertigo, in spirals (1958, dir. Alfred Hitchcock)

Stills from Vertigo’s (1958, dir. Alfred Hitchcock) title credits, designed by Saul Bass. Full sequence can be seen here.
“My initial thoughts about what a title can do was to set mood and the prime underlying core of the film’s story, to express the story in some metaphorical way. I saw the title as a way of conditioning the audience, so that when the film actually began, viewers would already have an emotional resonance with it.”
-Saul Bass

Stills from Vertigo’s (1958, dir. Alfred Hitchcock) title credits, designed by Saul Bass. Full sequence can be seen here.

“My initial thoughts about what a title can do was to set mood and the prime underlying core of the film’s story, to express the story in some metaphorical way. I saw the title as a way of conditioning the audience, so that when the film actually began, viewers would already have an emotional resonance with it.”

-Saul Bass

James Stewart in Vertigo (1958, dir. Alfred Hitchcock) (via)

James Stewart in Vertigo (1958, dir. Alfred Hitchcock) (via)

Bernard Herrmann - Vertigo:Suite/I. Prelude (via Bernard Herrmann:The Film Scores)

“As I scored it throughout, I found myself entirely in sympathy with what was going on the screen. The story was so original, so haunting, that I knew pretty much what was called for, and I dredged it from my subconscious.”

-Herrmann, quoted in Steven Smith’s A Heart at Fire’s Center: The Life and Music of Bernard Herrmann