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I also think the relationship I have with my audience is a lot more complex than what Hitchcock seemed to want his to be - although I think he had more going on under the surface as well.

Hitchcock had a very strange mind.

I've never understood the cult of Hitchcock. Particularly the late American movies... Egotism and laziness. And they're all lit like television shows.

Mr. Hitchcock knew what he was doing.

Guys like Spielberg and Zemeckis and really anybody who is a storyteller-filmmaker today has studied Hitchcock and the way he visually tells a story. He was the master of suspense, certainly, but visually you would get a lot of information from what he would do with the camera and what he would allow you to see as the story was unfolding.

I was under contract with Hitchcock before I even met him. They wouldn't tell me anything about the film, or who was working on it. They had all sorts of excuses as to why they couldn't tell me anything.

One key element to Hitchcock is the drooping jowl. That was crucial because his silhouette is crucial. There is something about his silhouette that became his brand.

The thing I loved about Alfred Hitchcock is that he left a lot of open ends there, a lot of clues that didn't really add up the way you think they would, and sometimes, not at all.

Even Hitchcock liked to think of himself as a puppeteer who was manipulating the strings of his audience and making them jump. He liked to think he had that kind of control.