Scripting Hitchcock: Psycho, The Birds, and Marnie

161 Pages·2011·5.43 MB·English

by  Walter Srebnick

scripting hitchcock
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PSYCHO, THE BIRDS, AND MARNIE
WALTER RAUBICHECK & WALTER SREBNICK
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university of illinois press Urbana, Chicago, and Springfield
© 2011 by the Board of Trustees
of the University of Illinois
All rights reserved
Manufactured in the United States of America
1 2 3 4 5 c p 5 4 3 2 1
∞ This book is printed on acid-free paper.
Library of Congress Cataloging-in-Publication Data
Raubicheck, Walter, 1950–
Scripting Hitchcock : Psycho, The Birds, and Marnie /
Walter Raubicheck and Walter Srebnick.
p. cm.
Includes bibliographical references and index.
isbn 978-0-252-03648-4 (cloth) — isbn 978-0-252-07824-8 (pbk.)
1. Hitchcock, Alfred, 1899–1980—Criticism and
interpretation. 2. Motion picture plays, American—History
and criticism. 3. Motion picture authorship. 4. Film
adaptations—History and criticism. 5. Screenwriters—
United States. 6. Psycho (Motion picture : 1960) 7. Birds
(Motion picture) 8. Marnie (Motion picture) I. Srebnick,
Walter. II. Title.
pn1998.3.h58r38 2011
791.4302'33092—dc22 2011006826
To the memory of
Joseph Stefano,
Evan Hunter, and
Jay Presson Allen

Contents
Acknowledgments / ix
Preface / xi
1 The Triptych and the Screenplays / 1
2 The Sources / 25
3 From Treatment to Script / 55
4 Final Drafts: The Shooting Scripts / 82
Afterword / 113
Notes / 121
Index / 127
Illustrations follow page 54

Acknowledgments
A number of people played indispensable roles in help-
ing us bring this book into print. Our colleague Steven Goldleaf read
several drafts of the manuscript and offered valuable suggestions about
the scope and direction of our project. Amy Gilman Srebnick provided a
historian’s keen judgment, an editor’s eye, photographic expertise, and
a supportive presence that kept us on track at every stage of our work.
Sidney Gottlieb read the manuscript at a late stage, and his knowledge
and judgment helped make our argument more coherent. Each of these
people deserves our special thanks.
During our research trips to Los Angeles, Marilyn Stefano was a warm,
generous, and hospitable source of support, especially during the times
we interviewed her late husband, Joseph Stefano. Barbara Hall and
the staff of the Herrick Library of Motion Pictures graciously assisted
us with the invaluable screenplays and letters that formed the research
basis of this study. Several of Hitchcock’s other screenwriters provided
important insights into the director’s working methods: Arthur Laurents,
Samuel Taylor, John Michael Hayes, and Ernest Lehman. Hilton Green,
who worked closely with Hitchcock on Psycho and Marnie, shared with
us crucial information about how certain scenes in these films were pre-
pared and photographed. And Dorothy Herrmann shared her memories
of Hitchcock’s collaboration with her father, Bernard Herrmann.
Other individuals provided essential research and sources, such as
Victoria Johnson and Richard Fabrizio; others shared ideas or offered en-
couragement, such as Janet Cutler, Richard Allen, and James Naremore.
Still others gave us helpful material, such as Dina Hunter, the widow
of Evan Hunter, and Brooke Allen, the daughter of Jay Presson Allen;
or shared memories, such as Janet Leigh and Tippi Hedren; or offered
contacts and connections, such as Lorna Champagne, Ruth Prigozy, John
Lepre, Donna Mills, and Larry Gilman.
Last of all, we would like to thank our editor, Joan Catapano, for her
assistance, patience, and professionalism.
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