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Hey farmer!

He runs behind the car. However, the stranger who is Thornhill presses the accelerator and speeds off to Chicago.

He claims that Hitchcock's methods of work are legendary and almost unique, unlike the rest of the directors. He puts all the details and plans them in advance in the executive text, leaving nothing to chance, and hates even the idea of ​​improvisation within the scene. In most cases he works closely with his writers, offering them suggestions for locations, character traits, and thematic details with his diabolical tricks. He delights in recounting how he would suggest to the writer: Wouldn't it be fun if we killed him like that? After he finishes the script, Hitchcock then starts filming the script, which for him is the most enjoyable part of the film industry. Indeed, real photography is a troublesome process for him, since the whole creative work has been completed on paper most of his executive scripts include the breaking up of shots, their lengths, and separate sketches for each. It also introduces audio elements and technical information such as lenses and special filters that may be required for filming (8,9). Andre Bazin once noticed that when he watched a scene from the arrest of a thief during filming, Hitchcock was sitting next to him, giving the impression that he was very bored. It's a far cry from the half-organised chaos we find on most sets. he heard

... The following excerpt is not the Hitchcock script excerpt from Lehman's script but perhaps the other good thing is a reconstruction of the scene taken directly from the film (provided by Albert G. Lavallee in his book Focus on Hitchcock. Although some elements texture, rhythm, movement and representational subtleties. etc. In this reconstruction, it is inevitably modified, but it provides us with a useful insight into the difference between the film and the function of the writer and the role of the director. Numbers in brackets denote approximate lengths with new justifications for snapshots in seconds. I used the following acronyms (E.L.S. Very Long Shot), (L.S. Long Shot), (M.S. Medium Shot), (C.U. Large Shot), and .. Point of View Shot (Thornhill). Of course, the executive script is not a substitute for the same movie experience, unless This fragmentation of the shots does help to prove that even if Hitchcock had nothing to do with the subject material (a highly unlikely hypothesis since all signs point to a classic Hitchcock scene) the effect is due primarily to the cinematic handling of the material by the director. Verbal Lyman leads to events in a sequence that terrifies most viewers so much that they are paralyzed by fear and at the same time - and paradoxically - they enjoy unexpected clever touches.