Film Techniques used by Alfred Hitchcock.

POINT OF VIEW

Putting an idea into the mind of the character without explaining it in dialogue is done by using a point-of-view shot sequence. This is subjective cinema. You take the eyes of the characters and add something for them to look at.

Start with a close-up of the actor
- Cut to a shot of what they're seeing
- Cut back to the actor to see his reaction
- Repeat as desired

CAMERA IS NOT A CAMERA

The camera should take on human qualities and roam around playfully looking for something suspicious in a room. This allows the audience to feel like they are involved in uncovering the story. Scenes can often begin by panning a room showing close-ups of objects that explain plot elements.

FRAME FOR EMOTION

The first consideration of where to place the camera should involve knowing what emotion you want the audience to experience at that particular time. Emotion comes directly from the actor's eyes. You can control the intensity of that emotion by placing the camera close or far away from those eyes. A close-up will fill the screen with emotion, and pulling away to a wide angle shot will dissipate that emotion. A sudden cut from wide to close-up will give the audience a sudden surprise. Sometimes a strange angle above an actor will heighten the dramatic meaning.

SUSPENSE IS INFORMATION

"Information" is essential to Hitchcock suspense; showing the audience what the characters don’t see. If something is about to harm the characters, show it at beginning of the scene and let the scene play out as normal. Constant reminders of this looming danger will build suspense. But remember - the suspense is not in the mind of the character. They must be completely unaware of it.

IT'S IN THE MIND OF THE AUDIENCE

Change everything in your screenplay so that it is done for the audience. Nothing is more important than how each scene is going to affect the viewer. Make sure the content engages them and reels them in. Use the characters to tease the viewer and pull them along desperately wanting more.

DIALOGUE MEANS NOTHING

One of your characters must be pre-occupied with something during a dialogue scene. Their eyes can then be distracted while the other person doesn't notice. This is a good way to pull the audience into a character's secretive world.

KEEP THE STORY SIMPLE

f your story is confusing or requires a lot of memorization, you're never going to get suspense out of it. The key to creating that raw Hitchcock energy is by using simplistic, linear stories that the audience can easily follow.

USE HUMOUR TO ADD TENSION

Humor is essential to Hitchcock storytelling. Pretend you are playing a practical joke on the main character of your movie. Give him the most ironic situations to deal with. It's the unexpected gag, the coincidence, the worst possible thing that can go wrong - all can be used to build tension.

SURPRISE AND TWIST

Once you've built your audience into gripping suspense it must never end the way they expect. The bomb must never go off! Lead them in one direction and then pull the rug out from under them in a surprise twist.

TWO THINGS HAPPENING AT ONCE

Build tension into a scene by using contrasting situations. Use two unrelated things happening at once. The audience should be focused on the momentum of one, and be interrupted by the other. Usually the second item should be a humorous distraction that means nothing (this can often be dialogue.)

It was put there by you only to get in the way.