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In a Hitchcock thriller, the thing which seems to be of primary importance generally turns out to be what he called the MacGuffin, the least important thing of all.
It is only a matter of days, perhaps hours before the secret is out of the country.
I don't care about content at all. The film can be about anything you like so long as I'm making that audience react in a certain way to whatever I put on the screen. And if you begin to worry about the details of what the papers are about, that the spies are trying to steal, that's a lot of nonsense. I can't be bothered about what the papers are, what the spies are after. In Kipling's day, it was a plan of the fault. Well, how can you, you know, bring out the plans of the fault? You want the public to measure them or something? |
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发表于 2016-8-2 11:29:05