Anthony Hopkins on Playing the ‘Psycho’ Director in ‘Hitchcock’

WRITER’S NOTE: This article was originally written back in 2012.

Sir Anthony Hopkins has played real-life people in movies such as President Richard Nixon in “Nixon” and John Quincy Adams in “Amistad,” but he was initially hesitant about playing the brilliant filmmaker Alfred Hitchcock in “Hitchcock.” The master of suspense has been imitated so many times over the years to where it seems impossible to portray the man without it feeling like it is a joke. Hopkins, however, was won ever by the film’s director, Sacha Gervasi, who told him, “You’re not Alfred Hitchcock, you’re Anthony Hopkins playing him.” From there, Hopkins knew he would be portraying Hitchcock without ever having to do a mere impersonation of him.

Hopkins actually had the unique privilege of meeting Mr. Hitchcock while he was alive. It’s always great fun to hear from actors who have met the highly esteemed filmmaker as the majority of us have only seen him from a distance. We all wondered what Hitchcock was really like as his films generally delved into the pitch-black darkness of humanity, and that had many assuming he was a somewhat disturbed human being himself. Hopkins described the experience of meeting Hitchcock to Fox News.

“I met Hitchcock in Hollywood in 1979. He had just been awarded his knighthood and I was with my agent, and his agent in fact, George Chasen,” Hopkins said. “This was many years ago. I saw Hitchcock sitting in the restaurant and I said to my agent, ‘I’d love to meet him.’ He said ‘I’ll introduce you.’ So, we walked out of the restaurant after we finished our meal, and Hitchcock was sitting there drinking a large brandy. And George said ‘Congratulations Sir Alfred,’ and he said, ‘Thank you very much George. How are you?’ and George said, ‘This is my client Anthony Hopkins,’ and (Hitchcock) said ‘Charmed, I’m sure, very good luck to you.'”

For Hopkins, a key importance for him was getting the look of the famous filmmaker right. The fact is he is far slimmer than Hitchcock was, and Hitchcock famously known for being overweight. It was up to Academy Award-winning makeup artist Howard Berger to transform Hopkins into Hitchcock. In a conversation with Andrea Mandell of USA Today, Berger talked about doing six makeup tests with Hopkins before filming on “Hitchcock” began, and they experimented with all sorts of prosthetics to get the look right.

“I think the biggest challenge was finding the right combination of Alfred Hitchcock and Anthony Hopkins,” said Berger. “We knew from the get-go; we didn’t want to completely cover and disguise Tony. As Hopkins became more comfortable with the character, slowly we started to strip things away.”

Berger went on to describe the end result of his work as being a portrait of Hitchcock on Hopkins. The makeup process took two hours each day to complete, and this included applying a prosthetic jowl and neck pieces to Hopkins. In addition, Hopkins took to wearing a bodysuit and brown contact lenses, and he also shaved “a patch of hair at the back of his head to replicate the director’s hair pattern.” With the makeup done, it freed Hopkins to concentrate on the inner life of his role as opposed to the physical aspects of it. In the end, this is what actors need to focus on the most when playing any role.

But the one thing you will not find Hopkins doing during shooting is staying in character when the cameras are not rolling. Right now, the movie “Lincoln” is in theaters, and it stars Daniel Day Lewis as President Lincoln. Stories from that set have described Lewis as staying in character throughout the shoot to where other actors kept referring to him as Mr. Lincoln. In talking with Philip Sherwell of The Telegraph, however, Hopkins made it very clear how this method of acting is completely unnecessary for him.

“I think that’s a lot of crap,” Hopkins said. “I just don’t understand that. If actors want to do that, fine. If they want to be miserable, that’s up to them. I’m not interested. It’s a job. Who the hell wants to be with some miserable grump because he wants to get his performance right, so you have to call him this or call him that? It’s so boring. I’ve been with actors like that and… they’re unpleasant to work with and I don’t think they’re always that good either.”

With all the great performances he has given throughout his illustrious career in “Silence of The Lambs,” “Remains of the Day” and “Titus,” Anthony Hopkins doesn’t need to stay in character a whole day in order to give audiences a confident performance. His role as Alfred Hitchcock in “Hitchcock” is just the latest example of the kind of work we can always expect from an actor of his caliber. Hopkins never takes the easy way out with a role, and he understands it is the inner life of a character that the actor needs to work on. As for how he looks on the outside, that is someone else’s concern.

SOURCES:

‘Hitchcock’ star Anthony Hopkins: To get a compliment from legendary director was ‘like being given a billion dollars,'” Fox News, November 21, 2012.

Andrea Mandell, “Anthony Hopkins’ scary transformation into Hitchcock,” USA Today, November 23, 2012.

Philip Sherwell, “‘Don’t call me ‘Mr. Hitchcock’: Anthony Hopkins does not want the Daniel Day-Lewis treatment,” The Telegraph, November 24, 2012.

‘The Maltese Falcon’ Movie and 4K Review

The following review was written by Ultimate Rabbit correspondent, Tony Farinella.

The Maltese Falcon” is a film I imagine I will enjoy a lot more on a second viewing, as this was my first time watching it. The reason I say this is because there are a lot of moving pieces in this film, and it is never boring.  However, at times, I found myself trying to follow the story and the plot instead of being as immersed in the story as I would have liked to have been.  Many people have called it the first-ever film noir.  Film noir is a genre that Humphrey Bogart excelled in throughout his career.  He had a rough look and a gruff voice.  He wasn’t going to take any nonsense from anyone, and no matter how dire a situation was, he always seemed to know what was going on, and he was not going to be rattled by the circumstances around him.

Humphrey Bogart plays a private investigator named Sam Spade.  He is in business with his partner, Miles Archer (Jerome Cowan).  One day, a woman walks into their office by the name of Ruth Wonderly (Mary Astor), claiming her sister ran off from New York to San Francisco with a man named Floyd Thursby.  She is hoping that Spade and Archer can help her find her sister.  Archer agrees to look into it, but he ends up dead along with Floyd Thursby.  This captures the attention of Sam Spade, who is beginning to wonder the validity of her story.  Before long, he discovers that her real name is actually Brigid O’Shaughnessy.

Throughout all of this mystery and intrigue, Sam finds himself in the crosshairs of Joel Cairo (Peter Lorre), who offers Sam some money for a highly valued falcon statue.  There is also a young man named Wilmer (Elisha Cook Jr.) who is keeping his eyes on Sam along with Kasper Gutman (Sydney Greenstreet), a rotund money man who will stop at nothing to get his hands on this bird. Throughout all of the twists and turns, Sam isn’t sure who to believe, who to trust, and who is telling the truth. He stays in control and makes smart decisions, even when people are pointing their guns at him or he’s suspected of murder by the police.

One of the strong points of “The Maltese Falcon” is the running time. At 100 minutes, there is not a dull moment in the film.  It is paced perfectly and directed with great skill by John Huston. It has the look and feel that one would expect from a film noir.  You have your femme fatale in Mary Astor.  She’s brilliant here, as she’s able to go from vulnerable and naïve to cunning and savvy in the blink of an eye. Of course, you have Bogart, who made a living in Hollywood playing this type of character.  Guys liked and respected him, and women were drawn to his tough exterior. As mentioned earlier, he is always able to stay level-headed, even in life-or-death circumstances.  He still seems to know what to do and what to say to get himself out of a jam.

In the end, I respected and admired “The Maltese Falcon” as a film.  I can’t say I enjoyed it a ton because of the storytelling.  It’s not an overly complicated film, but at times, there are too many twists and turns happening at once.  That being said, I think the more I watch this film, the more I will enjoy it and have a better understanding of everything.  Because of the deception happening on screen and characters coming and going, it’s not that it was hard to follow, it’s more that I was keeping up with the plot instead of getting lost in it. I look forward to watching this film many more times in the future, as I think I will gain an even greater appreciation for the skilled acting and directing on display.

* * * out of * * * *

4K Info: “The Maltese Falcon” is released on a two-disc 4K/Blu-ray combo pack from Warner Brothers Home Entertainment. The film has a running time of 100 minutes.  It also comes with a digital copy of the film. As far as the film’s rating, it is not rated, but that is not because it’s a raunchy film. It was released in 1941 and is very tame.

Video Info:  Ultra High Definition HDR always stands out on older films.  A lot of movie buffs like to talk about how older films are enhanced by a 4K transfer, and that is certainly the case here. From the swift movements of the characters to the deep blacks, this is a stunning transfer of a black and white film. Right now, 4K is doing some truly amazing work with classic Hollywood films.

Audio Info: The film is presented on the following audio formats: DTS-HD MA: English 2.0 Mono and Dolby Digital: Spanish. Subtitles are included in English and Spanish as well.  The audio is crisp, clear, and all of the great dialogue you would expect from a film noir is easy to digest while watching this film.

 Special Features:

 Commentary by Humphrey Bogart Biographer Eric Lax

“Warner Night at the Movies”

“Sergeant York” Trailer

“New Highlights of the Roosevelt Churchill Parley” (newsreel)

“The Gay Parisian” (1941 WB short)

“Meet John Doughboy” (1941 WB cartoon)

The Maltese Falcon: One Magnificent Bird

Becoming Attractions: The Trailers of Humphrey Bogart

Breakdowns of 1941 (WB short)

Make-up Tests

2/8/43 Lux Radio Theater Broadcast

9/20/43 Screen Guild Theater Broadcast

7/3/46 Academy Award Theater Broadcast

Trailers

1936 “Satan Met a Lady”

1941 “The Maltese Falcon”

Should You Buy It?

I don’t feel like I am really giving this film the credit it deserves, but keep in mind, this was my first time watching it.  I have always been a big believer that you need to watch a great film a few times in order to fully appreciate it.  It doesn’t always strike on the first chord.  There is a lot to like, especially the acting and the pacing of the plot, but the story took me out of it at times.  With all of that being said, if you are a fan of “The Maltese Falcon,” you owe it to yourself to buy it on 4K.  It looks fantastic here in black and white and in high dynamic range with its 4K transfer.  It’s such a moody film noir that truly gets a boost from 4K.  The special features are transferred over from the previously released Blu-ray, so if you are looking for anything new here, you are not going to find it, but I don’t expect anything new from a film that was released in 1941 as most, if not all, of the actors have passed away.  If you are a first-time viewer like myself, I still think you should buy it as you will get the slipcover and might enjoy it more than I did.  If you love the film and have seen it many times, you will enjoy it even more on 4K. I look forward to seeing what else Warner Brothers is going to be releasing throughout the year during their 100th year anniversary.

**Disclaimer** I received a copy of this film from Warner Brothers to review for free.  The opinions and statements in the review are mine and mine alone.

Veronica Cartwright Looks Back at the Chestburster Scene from ‘Alien’

Veronica Cartwright in Alien

While Veronica Cartwright was at New Beverly Cinema to talk about “The Right Stuff,” filmmaker Brian McQuery couldn’t help but ask her a question about another famous movie she starred in, “Alien.” Specifically, he wanted to know more about the “chestburster” scene which is one of the film’s most horrifying moments. The story behind this scene has been told over and over again throughout the years, but Cartwright was still willing to talk and clear up a few things about it.

Legend has it neither Cartwright nor the other actors in “Alien” had any idea of what exactly was going to erupt from John Hurt’s chest. Cartwright, however, said the actors had read the script and knew something was supposed to come out of there. Also, she and Sigourney Weaver had a scene where they were supposed to know what it looked like, but they had no clue what they were going to be talking about. As a result, they visited the studio where the infant alien was being built.

“A few weeks earlier we had gone down and seen the little mockup of that little penis guy with the tail, but it wasn’t working at that point,” Cartwright said of the alien. “It was sort of a gray thing and the artists were saying ‘oh his teeth will be like this and he breathes…’ It was just like a little puppet thing that came out.”

Then came the day when the chestburster scene was shot, and Cartwright described it as though she had just filmed it yesterday.

“We’re all upstairs in the dressing room and they take John (Hurt) down, and for four hours we never saw John. John was having his false chest made,” Cartwright said. “When we were told that we could come down to the set, the entire set was dressed in plastic, everybody’s wearing raincoats, and there were big buckets of this awful stuff that smelled like formaldehyde. It stank and you gagged when you first went in there.”

“So, here’s John packed in this thing, and they had four cameras so that they would get everybody’s reaction,” Cartwright continued. “What happens is that they cut the t-shirt so that the puppeteer could push the thing through, so we all start leaning forward because you’re just fascinated to see what’s going to happen. One of the effects guys told me, ‘oh you’ll be getting a little blood on you,’ and I said, ‘oh okay.’ Not thinking, I leaned right into it. I had a jet pointed at my face, and it just shot me square in the face. It was unbelievable, and then I backed up and (in the dailies, it’s the most hysterical thing) my knees hit the back of a set piece and I flipped upside down to where you can see my cowboy boots sticking up above. I did not expect to get shot with a full blast of blood.

Veronica gets sprayed in Alien

Cartwright pointed out that the scene was done in just one take, and McQuery replied how her reaction looked “really real!” The audience at the New Beverly laughed loudly in agreement with him.

“Years later I worked with that same guy and he said, ‘sorry about that!’ How rude,” Cartwright said.

Looking back, Cartwright described “Alien” as being a very “sweaty” movie because the cast would come on the set in the morning and get covered in glycerin from a pumper. She described this as being “so gross,” but that in the end it was an experience.

While she was primarily at New Beverly Cinema to talk about “The Right Stuff,” the audience was glad McQuery asked Cartwright about the making of Ridley Scott’s classic 1979 film. Just when you think you have heard the definitive story about a classic movie scene, one of its participants comes around to inform you of one or two details you might have missed.

Photos courtesy of 20th Century Fox

Exclusive Interview with Kenneth Walker and Julia Lallas about ‘Loving’

Jeff Nichols’ “Loving” is a beautiful movie from top to bottom as everyone involved in its making did an expert job of transporting us back to the 1950’s and 60’s. Based on a, yes, true story, it introduces us to Richard Loving (Joel Edgerton) and Mildred Jeter (Ruth Negga) who are deeply in love with one another. They eventually get married, but with Richard being white and Ruth being black, they are arrested and put in jail as their interracial marriage violated Virginia’s anti-miscegenation laws. As punishment, they are banned from returning to Virginia for 25 years and forced to live in Washington D.C., but they soon sue the state and their case eventually made it all the way to the Supreme Court where it was ruled banning interracial marriage is unconstitutional.

I recently got to speak with two artists who worked on “Loving” behind the scenes: Kenneth Walker and Julie Lallas. Walker was the head of the hair department, and his previous credits include “Jimi: All is By My Side,” “Munich” and Ridley Scott’s “American Gangster” which he described as the hardest film he ever worked on. Lallas headed up the makeup department and worked with Nichols previously on “Take Shelter,” and she has also worked on the set of “Enchanted,” “Nick & Norah’s Infinite Playlist” and “We Need to Talk About Kevin.” Talking with them both was very illuminating in terms of how they went about their jobs, and it also allowed me to ask them if they want their work to be showy or to instead just disappear into the framework of the movie.

Check out the interview above, and also included below is a trailer for “Loving.” Nichols’ movie is now playing in Los Angeles and New York, and it is definitely worth checking out.