![]() ![]() He needs Clift to look up so he can show the audience the hotel sign in the next shot and let them know that the hotel is very close, essential information for what happens next. He doesn’t know why his character would do that, he thinks he’d be more concerned with the mob, what they might do to him. Clift - a devout disciple of Stanislavski’s ‘Method’ school of acting - resists. Hitchcock’s direction is clear: Clift is to pause on the steps, look at the crowd and then look up to the hotel across the street. ![]() He knows who the killer is but is bound by the seal of confession. ![]() There is a tense moment on-set in Hitchcock’s 1952 drama, I Confess, when Montgomery Clift ’s Father Michael Logan emerges from a police station. Kent Jones’ new documentary, Hitchcock/Truffaut, tells the story of a remarkable conversation between two masters of film, and its influence on the generation of directors that followed. ![]()
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