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FILM :
HITCHCOCK
Fox Searchlight Pictures presents in association with Cinereach a Cinereach and Court 13 production in association with Cold Spring Pictures, a Montecito Picture Company / Barnette/Thayer production 's Biography, Drama directed by Sacha Gervasi starring Anthony Hopkins "Alfred Hitchcock", Helen Mirren "Alma Hitchcock", Scarlett Johansson "Janet Leigh", Danny Huston "Whitfield Cook", Toni Collette "Peggy Robertson", Jessica Biel "Vera Miles", Michael Stuhlbarg "Lew Wasserman", James D'Arcy "Anthony Perkins", Michael Wincott "Ed Gein", Richard Portnow "Barney Balaban", Kurtwood Smith "Geoffrey Shurlock". Screenplay by: John J. McLaughlin. Based on the book: Alfred Hitchcock and the Making of Psycho by Stephen Rebello. Produced by: Ivan Reitman, Tom Pollock, Joe Medjuck, Tom Thayer, Alan Barnette. Music by: Danny Elfman. RELEASE DATES: 13 FEBRUARY 2013 (FRANCE) / 23 NOVEMBER 2012 (USA)
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The Design of Hitchcock The visual design of HITCHCOCK hinged on merging two very different worlds: that of the closed PSYCHO film set, where the bones of Hitchcock’s trademark texture, anxiety and titillation were created, and another world even less seen, Hitchcock’s domestic home life with Alma. Gervasi worked with a highly accomplished crew including director of photography Jeff Cronenweth, production designer Judy Becker and costume designer Julie Weiss, to bring both to life. Gervasi was drawn to two-time Oscar nominee Cronenweth because of his elegantly austere work with David Fincher on such films as SOCIAL NETWORK and THE GIRL WITH THE DRAGON TATTOO. “You could learn everything you learn in film school in just one week with Jeff,” says Gervasi. “He is that assured and innovative.” Becker, whose films include BROKEBACK MOUNTAIN and THE FIGHTER, was equally key as a collaborator. She and Gervasi talked a lot about how to create a dynamic sense of period as well as a compelling reality for Alfred and Alma. “Sacha really wanted to show Hitchcock’s home world, his domestic life, as well as his Hollywood life, so we had to look for ways to tie these together, which we did mainly through palette,” she explains. “For example, we picked a lot of 50s colors, like coral and aqua, but then you might see touches of those in Hitchcock’s very traditional English home. It was quite an intensive process.” Since PSYCHO was shot in black and white, and there is no existing color photography from the shoot, Becker researched what colors might have been used to achieve the gray scale tones in the 1960 movie – but also added electrifying pops of the colors that defined mid-Century design. “Not having a visual record could be seen as a handicap but you could also view it as enormously freeing, which I did,” says Becker.” Sacha and I decided that we wanted to make our movie set vibrant and colorful, in part to play against the viewer’s expectations since PSYCHO is so iconically black and white.” Creating the Hitchcock home – for which an exterior on Alpine Dr. in Beverly Hills and interiors in Pasadena stood in – was more about creating a sense of partnership over time, and Becker filled the rooms with mementos from several decades, accumulated over years of working and being together. “It was important to feel that Alma and Alfred have already been married for 40 years when our film takes place, so the house incorporates a feeling of all the stuff that came before,” she says. Once again, a primary principle was avoiding replication. Instead, Becker set out to craft a believable, dynamic environment that would bring audiences into Hitch and Alma’s living spaces. “During PSYCHO, the Hitchcocks actually lived in a ranch house in Bel Air, but Sacha wanted their house to look more like the Tudor they had lived in in England,” Becker explains. “We researched their house in Bel Air quite a bit, but we departed from reality when it worked well for the story. There were also many things we were true to, including Hitchcock’s love of modern art, which is something that sort of plays against this old English house and brings it to another level.” Becker also included subtle Hitchcock motifs in the house and in Hitchcock’s office, including birds, a species with which he was fascinated long before he made THE BIRDS. For Hitchcock’s office, Becker had the advantage of being able to work with the actual environs where he started developing PSYCHO. The PSYCHO sets – including the iconic bathroom, the opening-scene motel room and the parlor where Norman Bates peeks at Marian Crane though a spyhole -- were then re-created on the stages at the Red Studios in Hollywood, which were dressed to depict the Universal lot of 1960, where PSYCHO was shot. “You get a chance here to see these sets as you never saw them in the movie,” notes Becker. “And you get to see them in color for the first time, so that is part of the fun.” The Costumes Color was also a cornerstone of costume designer Julie Weiss’ work. Weiss, a two-time Oscar nominee for FRIDA and TWELVE MONKEYS, was excited by the breadth of the costuming on HITCHCOCK. “To have both the world of Alfred and Alma and the world of Ed Gein -- that’s a gold mine,” she says. “I had the opportunity to go from plaid shirts to glamorous gowns.” The cast who would wear her costumes also excited her. “I was extremely lucky to be able to work with this cast of originals,” she muses. “These are actors who make the camera dance and that camera has to get past whatever costume I put on them, so it can never be armor.” Gervasi adored Weiss’ creative energy. “Julie, like all great artists, is obsessive, compulsive and absolutely focused on making her work brilliant,” says Gervasi. “She’s an extraordinary character who would have been right at home in the 16th century with the great painters of the Renaissance.” Weiss took her inspiration from the archives but added her own touches. “This was a period of time where grooming was extremely important so there’s a level of finish to all the characters,” she observes. “You start by asking yourself, why does this person get dressed the way they do? The most important thing is that when the actor looks in the mirror, they feel they’ve become that character. That’s what it’s all about.” And that’s exactly the gift the actors say they received from Weiss. Anthony Hopkins, who has worked with Weiss five times, says of her: “She’s like a Stanislavsky Method costume designer. She goes into the depths of the character through endless research and comes up with a philosophy that you never even considered.” Toni Collette was also thrilled with her wardrobe. “I felt totally spoiled because I love the way Peggy got to look in the movie. I don’t have a boy’s body; I have curves and what Julie designed for me is perfect. She’s so great at what she does and she approaches the character in very abstract ways so every fitting with her is an experience.” The Makeup: Making Hopkins Hitchcock To allow Hopkins to create Hitchcock, Weiss collaborated with Howard Berger’s KNB Effects Group (of which he is founder with Gregory Nicotero), which oversaw the makeup. Berger, an Academy Award winner for THE CHRONICLES OF NARNIA: THE LION, THE WITCH, AND THE WARDROBE, created the intricate make-up design that helped Hopkins interpret Hitchcock’s persona. Following Hopkins’ and Gervasi’s lead, he too shied away from imitation. “From day one, our goal was not to design make-up that would make Tony look exactly like Hitchcock,” Berger explains. “Both Tony and Hitch are very well known, so you look at the features that made Hitch who he was and see how you can augment them onto Anthony Hopkins. So many things are different: the shape of the head, the placement of the eyes. Our aim was to come up with the perfect blend so Tony could work the make-up and bring the character to life in his inimitable way.” Berger toiled for weeks to come up with a process that wouldn’t be too burdensome for Hopkins, but says the actor was gung-ho. “Tony was up for almost anything, but we were all happy that we settled on a make-up process that ultimately only took 90 minutes to apply,” says Berger. Hopkins donned facial prosthetics including a silicone “horseshoe” piece that encompassed the character’s neck, chin and cheeks. Pieces for the earlobes and a nose tip were then added, and makeup applied over the whole thing daily. Contact lenses covered Hopkins’ bright blue eyes, his teeth were painted to take his natural whiteness away and then a hair piece was put on to emulate Hitch’s hairline. Berger put in intensive work, but he summarizes: “All we are doing with this make-up is giving Tony a tool. It was just the first step in allowing him to bring the character to life. When he walks on to set he becomes Hitchcock. That’s an amazing transformation to see.”
TRAILER A (VO)
TM and © 2012 Fox and its related entities. All rights reserved.
RUBY SPARKS Bona Fide Productions, Fox Searchlight Pictures' Comedy, Fantasy, Romance directed by Jonathan Dayton and Valerie Faris starring Paul Dano.
BEASTS OF THE SOUTHERN WILD Fox Searchlight Pictures' Drama directed by Benh Zeitlin starring Quvenzhané Wallis, Dwight Henry, Levy Easterly, Lowell Landes.
HITCHCOCK Fox Searchlight Pictures' Biography, Drama directed by Sacha Gervasi starring Anthony Hopkins, Helen Mirren, Scarlett Johansson, Danny Huston.
Scarlett Johansson as "Janet Leigh" on the set of HITCHCOCK.
SONGS: FUNERAL MARCH OF A MARIONETTE Written by Charles Gounod YOU’RE THE ONLY ONE FOR ME Written by Alan Ett and William Ashford Performed by and Courtesy of The Music Collective PRELUDES, OP. 28: NO. 1 IN C MAJOR, AGITATO Written by Frédéric Chopin Performed by Bianca Sitzius, Piano Courtesy of Countdown Media AIN’T THAT A KICK IN THE HEAD Written by Sammy Cahn and James Van Heusen Performed by Dean Martin Courtesy of Capitol Records Under license from EMI Film & Television Music TWO HEARTS ENTWINE Written by Jimmy Hastings Courtesy of Opus 1 Music PETITE FOUR FOUR Written by Peter Robert Vince Courtesy of APM Music TWEEDLE DEE Written by Scott Winfield Performed by Georgia Gibbs Courtesy of The Island Def Jam Music Group Under license from Universal Music Enterprises SYMPHONY NO. 3 in E FLAT MAJOR “EROICA” OP. 55: SCHERZO ALLEGRO VIVACE Written by Ludwig Van Beethoven Arranged by Jim Long Courtesy of Crucial Music Corporation & Point Classics KISS OF FIRE Written by Lester Allen and Robert Hill Performed by Georgia Gibbs Courtesy of The Island Def Jam Music Group Under license from Universal Music Enterprises THE MURDER Written by Bernard Herrmann Performed by The Royal Scottish National Orchestra Conducted by Joel McNeely Courtesy of Varese Sarabande Records, Inc. Under license from Varese Sarabande Records, Inc. THE BATHROOM Written by Bernard Herrmann Performed by The Royal Scottish National Orchestra Conducted by Joel McNeely Courtesy of Varese Sarabande Records, Inc. Under license from Varese Sarabande Records, Inc.
© 2012 Twentieth Century Fox Film Corporation, Cold Spring Pictures LLC and Dune Entertainment III LLC in all territories except Brazil, Italy, Japan, Korea and Spain. © 2012 TCF Hungary Film Rights Exploitation Limited Liability Company, Twentieth Century Fox Film Corporation, Cold Spring Pictures LLC and Dune Entertainment III LLC in Brazil, Italy, Japan, Korea and Spain.
TM and © 2012 Fox and its related entities. All rights reserved.
FEATURETTE #1 "Hitch And Alma" (VO)
FILM CLIP #1 "Shock Value" (VO)
FILM CLIP #2 "Miss Janet Leigh" (VO)
FILM CLIP #3 "Why This One, Hitch?" (VO)
FILM CLIP #4 "Discovering Psycho" (VO)
FILM CLIP #5 "Press Lunch" (VO)
SELECTED B-ROLL (VO)
FILM CLIP #6 "In Editing" (VO)
FILM CLIP #7 "Whit" (VO)
FILM CLIP #8 "He's Always Watching" (VO)
FILM CLIP #9 "The Oath" (VO)
INTERVIEWS #1 Anthony Hopkins "Alfred Hitchcock" Part #1 (VO)
INTERVIEWS #2 Anthony Hopkins "Alfred Hitchcock" Part #2 (VO)
INTERVIEWS #3 Helen Mirren "Alma Reville" Part #1 (VO)
INTERVIEWS #4 Helen Mirren "Alma Reville" Part #2 (VO)
INTERVIEWS #5 Jessica Biel "Vera Miles" (VO)
INTERVIEWS #6 Toni Collette "Peggy Robertson" Part #1 (VO)
INTERVIEWS #7 Toni Collette "Peggy Robertson" Part #2 (VO)
INTERVIEWS #8 Sacha Gervasi (Director) (VO)
FEATURETTE #2 "Story" (VO)
TRAILER (VOSTFR)
FEATURETTE #3 "The Ensemble" (VO)
RUBY SPARKS Bona Fide Productions, Fox Searchlight Pictures' Comedy, Fantasy, Romance directed by Jonathan Dayton and Valerie Faris starring Paul Dano, Zoe Kazan, Antonio Banderas.
BEASTS OF THE SOUTHERN WILD Fox Searchlight Pictures' Drama directed by Benh Zeitlin starring Quvenzhané Wallis, Dwight Henry, Levy Easterly, Lowell Landes, Pamela Harper, Gina Montana.
FEATURETTE #4 "Remembering Hitch" (VO)
FILM CLIP #1 "Why This One, Hitch?" (VOSTFR)
FILM CLIP #2 "In Editing" (VOSTFR)
FILM CLIP #3 "Janet Leigh" (VOSTFR)
FILM CLIP #4 "Master At Work" (VOSTFR)
FILM CLIP #5 "Shock Value" (VOSTFR)
FILM CLIP #6 "The Oath" (VOSTFR)
SELECTED SOUND BITES (VO)