2. Alfred Hitchcock ( )

3. Hitch English producer and director
Suspense and psychological thriller
Started in silent films, then “talkies”
Television pioneer with series “Alfred Hitchcock Presents”
Britain's Daily Telegraph said: "Unquestionably the greatest filmmaker to emerge from these islands, Hitchcock did more than any director to shape modern cinema, which would be utterly different without him. His flair was for narrative, cruelly withholding crucial information (from his characters and from us) and engaging the emotions of the audience like no one else."

4. Innovations
Use of a camera made to move in a way that mimics a person's gaze
Framed shots to maximize anxiety, fear, or empathy
Innovative film editing
Twist endings and thrilling plots
“MacGuffins”
Cameo appearances in his own films

5. "MacGuffins"
In fiction, a MacGuffin (sometimes McGuffin or maguffin) is a plot device in the form of some goal, desired object, or other motivator that the protagonist (and sometimes the antagonist) is willing to do and sacrifice almost anything to pursue, often with little or no narrative explanation as to why it is considered so desirable. A MacGuffin, therefore, functions merely as "a plot element that catches the viewers' attention or drives the plot of a work of fiction”. In fact, the specific nature of the MacGuffin may be ambiguous, undefined, generic, left open to interpretation or otherwise completely unimportant to the plot. Common examples are money, victory, glory, survival, a source of power, a potential threat, a mysterious but highly desired item or object, or simply something that is entirely unexplained.

6. Character Psychology
Hitchcock's films sometimes feature characters struggling in their relationships with their mothers. In North by Northwest (1959), Roger Thornhill (Cary Grant's character) is an innocent man ridiculed by his mother for insisting that shadowy, murderous men are after him. In The Birds (1963), the Rod Taylor character, an innocent man, finds his world under attack by vicious birds, and struggles to free himself of a clinging mother (Jessica Tandy). The killer in Frenzy (1972) has a loathing of women but idolises his mother. The villain Bruno in Strangers on a Train hates his father, but has an incredibly close relationship with his mother (played by Marion Lorne). Sebastian (Claude Rains) in Notorious has a clearly conflictual relationship with his mother, who is (correctly) suspicious of his new bride Alicia Huberman (Ingrid Bergman). Norman Bates has troubles with his mother in Psycho.

7. Character Psychology 2
Hitchcock heroines tend to be lovely, cool blondes who seem proper at first but, when aroused by passion or danger, respond in a more sensual, animal, or even criminal way. The famous victims in The Lodger are all blondes. In The 39 Steps, Hitchcock's glamorous blonde star, Madeleine Carroll, is put in handcuffs. In Marnie (1964), the title character (played by Tippi Hedren) is a thief. In To Catch a Thief (1955), Francie (Grace Kelly) offers to help a man she believes is a burglar. In Rear Window, Lisa (Grace Kelly again) risks her life by breaking into Lars Thorwald's apartment. The best-known example is in Psycho where Janet Leigh's unfortunate character steals $40,000 and is murdered by a reclusive psychopath. Hitchcock's last blonde heroine was—years after Dany Robin and her "daughter" Claude Jade in Topaz—Barbara Harris as a phony psychic turned amateur sleuth in his final film, 1976's Family Plot. In the same film, the diamond smuggler played by Karen Black could also fit that role, as she wears a long blonde wig in various scenes and becomes increasingly uncomfortable about her line of work.

8. Character Psychology 3
Some critics and Hitchcock scholars, including Donald Spoto and Roger Ebert, agree that Vertigo represents the director's most personal and revealing film, dealing with the obsessions of a man who crafts a woman into the woman he desires. Vertigo explores more frankly and at greater length his interest in the relation between sex and death than any other film in his filmography.
Hitchcock often said that his favorite film (of his own work) was Shadow of a Doubt.

9. Filmography Number 13 (1922) (unfinished) The Skin Game (1931)
Suspicion (1941)
Rear Window (1954)
Always Tell Your Wife (1923) (unfinished)
Mary (1931)
Saboteur (1942)
To Catch a Thief (1955)
The Pleasure Garden (1925)
Rich and Strange (1931)
Shadow of a Doubt (1943)
The Trouble with Harry (1955)
The Mountain Eagle (1926) (lost)
Number Seventeen (1932)
Lifeboat (1943)
The Man Who Knew Too Much (1956)
The Lodger: A Story of the London Fog (1927)
Waltzes from Vienna (1933)
Aventure malgache (1944)
The Wrong Man (1956)
The Ring (1927)
The Man Who Knew Too Much (1934)
Bon Voyage (1944)
Vertigo (1958)
Downhill (1927)
The 39 Steps (1935)
Spellbound (1945)
North by Northwest (1959)
The Farmer's Wife (1928)
Secret Agent (1936)
Notorious (1946)
Psycho (1960)
Easy Virtue (1928)
Sabotage (1936)
The Paradine Case (1947)
The Birds (1963)
Champagne (1928)
Young and Innocent (1937)
Rope (1948)
Marnie (1964)
The Manxman (1929)
The Lady Vanishes (1938)
Under Capricorn (1949)
Torn Curtain (1966)
Blackmail (1929)
Jamaica Inn (1939)
Stage Fright (1950)
Topaz (1969)
Juno and the Paycock (1930)
Rebecca (1940)
Strangers on a Train (1951)
Frenzy (1972)
Murder! (1930)
Foreign Correspondent (1940)
I Confess (1953)
Family Plot (1976)
Elstree Calling (1930)
Mr. & Mrs. Smith (1941)
Dial M for Murder (1954)

10. Legend Attitude toward actors: Writing:
In my opinion, the chief requisite for an actor is the ability to do nothing well, which is by no means as easy as it sounds. He should be willing to be utilized and wholly integrated into the picture by the director and the camera. He must allow the camera to determine the proper emphasis and the most effective dramatic highlights.
Writing:
Once the screenplay is finished, I'd just as soon not make the film at all... I have a strongly visual mind. I visualize a picture right down to the final cuts. I write all this out in the greatest detail in the script, and then I don't look at the script while I'm shooting. I know it off by heart, just as an orchestra conductor needs not look at the score... When you finish the script, the film is perfect. But in shooting it you lose perhaps 40 percent of your original conception.

11. Awards and Honors
Hitchcock was a multiple nominee and winner of a number of prestigious awards, receiving two Golden Globes, eight Laurel Awards and five lifetime achievement awards, as well as being five times nominated for, albeit never winning, an Academy Award as Best Director. His film Rebecca (nominated for 11 Oscars) won the Academy Award for Best Picture of 1940—particularly notable as another Hitchcock film, Foreign Correspondent, was also nominated that same year.
In addition to these, Hitchcock received a knighthood in when he was appointed a Knight Commander of the Order of the British Empire by Queen Elizabeth II in the 1980 New Year Honours. Asked by a reporter why it had taken the Queen so long, Hitchcock quipped, "I suppose it was a matter of carelessness".