Alfred Hitchcock: influences, peers and legacy

Every connection with its receipt

Hitchcock's cinema was forged in the Weimar studios of the mid-1920s, refined in British thrillers, and perfected in Hollywood with a repertory of composers, designers and cinematographers. This mix traces the German expressionist scaffolding beneath his suspense, the literary and surrealist borrowings, and the generation of directors who spent careers dismantling his grammar.

The Kynda mix for Alfred Hitchcock

• Key Influence · The Last Laugh by F. W. Murnau (1924). Hitchcock was in Germany in 1924-25 working on the Anglo-German co-production The Blackguard at UFA's Neubabelsberg studio, where Murnau was shooting Der letzte Mann on adjacent stages. He often credited the Germans with teaching him visual storytelling, and Murnau's 'unchained camera' and near-total absence of intertitles model the pure-cinema principle Hitchcock spent decades restating: tell it with images, not dialogue.
• Influencia Obscura · Warning Shadows by Arthur Robison (1923). A near-wordless German chamber piece in which a shadow-showman exposes a household's jealousies, it is a study in guilt made visible through light. Robison's obscurity is compounded by an odd symmetry: he directed the 1932 German remake of Hitchcock's The Lodger. The film's silhouette dramaturgy and voyeuristic staging map directly onto Hitchcock's shadow work in Blackmail and the lodger's looming presence upstairs.
• Local Roots · Peeping Tom by Michael Powell (1960). Powell worked as a stills photographer and general assistant on Hitchcock's Blackmail and Champagne at British International Pictures in the late 1920s, and both men emerged from the same London studio system. Released the same year as Psycho, Peeping Tom pushes Hitchcock's voyeurism to its logical end by putting the camera itself in the killer's hands. The British press savaged it; Hitchcock's version made a fortune.
• Beyond the Medium · The Persistence of Memory by Salvador Dalí (1931). Hitchcock hired Dalí to design the dream sequence in Spellbound in 1945, wanting hallucination rendered in hard, sunlit clarity rather than the usual soft-focus blur. The melting clocks and endless perspectives of Dalí's most famous canvas are precisely the vocabulary imported into that sequence: eyes, scissors, vertiginous voids. Surrealism gave Hitchcock a way to picture the unconscious as sharp-edged fact.
• Peer · Les Diaboliques by Henri-Georges Clouzot (1955). Clouzot famously secured the rights to Boileau and Narcejac's novel ahead of Hitchcock, who then took the same authors' D'entre les morts and made Vertigo. Les Diaboliques' bathtub reveal and its plea to audiences not to spoil the ending set the commercial and formal terms Hitchcock answered with Psycho five years later, down to the murdered-in-the-bathroom shock and the no-late-admission gimmick.
• From the Canon · Vertigo by Alfred Hitchcock (1958). Adapted from Boileau and Narcejac's D'entre les morts and shot in San Francisco with Robert Burks behind the camera, Bernard Herrmann's Wagnerian score and Saul Bass's spiral titles, it fuses every collaborator Hitchcock trusted. The dolly-zoom was devised for it. Coolly received in 1958, it was reappraised by Cahiers-trained critics and displaced Citizen Kane atop Sight & Sound's 2012 poll.
• Key Collaborator · Taxi Driver by Martin Scorsese (1976). Herrmann scored seven Hitchcock films, from The Trouble with Harry through Marnie, before the pair split bitterly over Torn Curtain in 1966. His last completed work was Taxi Driver, finished days before his death in 1975: the same harp-and-brass sensuality laid over the same disturbed male watcher. Hearing it clarifies how much of Hitchcock's dread was actually written by Herrmann.
• Legacy · Obsession by Brian De Palma (1976). De Palma has spoken openly for decades about Hitchcock as his formal model, and Obsession is his most direct engagement: a Vertigo variation about a man remaking a lost woman, scored by Bernard Herrmann himself in one of his final commissions. Paul Schrader wrote it. The film makes the lineage literal by hiring Hitchcock's own composer to supply the swooning romantic dread.

What influenced Alfred Hitchcock

• Edward Hopper. Psycho (Alfred Hitchcock) — legacy for Edward Hopper (via Psycho, Alfred Hitchcock, House by the Railroad) “Hitchcock, learning American experience from scratch after immigrating to Hollywood in 1939, at the age of thirty-nine, acknowledged the influence. The Bates house in “Psycho” reproduces, with simplifications, the already suitably ominou…” (The New Yorker)
• The Last Laugh by F. W. Murnau (1924). The Last Laugh (F. W. Murnau) — titan for Alfred Hitchcock (also via Psycho) “He was impressed with Murnau's work, and later used many of his techniques for the set design in his own productions.” (Wikipedia)
• D. W. Griffith. States Hitchcock watched and admired Griffith's work as a young man. “he watched Charlie Chaplin , D. W. Griffith and Buster Keaton , and particularly liked Fritz Lang 's Der müde Tod (released in Britain in 1921 as Destiny )” (Wikipedia)
• Psycho by Robert Bloch (1959). Psycho (Robert Bloch) — titan for Psycho (via Psycho) “So I came up with the idea that the movie would be about a girl who is really in only two chapters of the book, but she comes to the motel and gets killed in the shower.” (The MacGuffin)
• House by the Railroad by Edward Hopper (1925). House by the Railroad (Edward Hopper) — culture for Psycho (via Psycho) “Alfred Hitchcock’s use of Edward Hopper’s House By The Railroad (1927) as the specific visual precursor for Norman Bates’ home in Psycho (1960) might be the most celebrated crossover from painting to cinema” (The Open College of the Arts)
• Dr. Mabuse the Gambler by Fritz Lang (1922). Dr. Mabuse the Gambler (Fritz Lang) — titan for Alfred Hitchcock “Griffith and Buster Keaton, and particularly liked Fritz Lang's Der müde Tod (released in Britain in 1921 as Destiny).” (en.wikipedia.org)
• The Persistence of Memory by Salvador Dalí (1931). The Persistence of Memory (Salvador Dalí) — culture for Alfred Hitchcock “=== Post-war Hollywood years: 1945–1953 === ==== Later Selznick films ==== Hitchcock worked for David Selznick again when he directed Spellbound (1945), which explores psychoanalysis and features a dream sequence designed by Salvador Dalí.” (en.wikipedia.org)
• Rebecca by Daphne du Maurier (1938). Rebecca (Daphne du Maurier) — culture for Alfred Hitchcock “Selznick ever said about me—and it shows you the amount of control—he said I was the 'only director' he'd 'trust with a film'." Hitchcock approached American cinema cautiously; his first American film was set in England in which the "Ame…” (en.wikipedia.org)
• Charlie Chaplin. States Hitchcock watched and admired Chaplin's work as a young man. “he watched Charlie Chaplin , D. W. Griffith and Buster Keaton , and particularly liked Fritz Lang 's Der müde Tod (released in Britain in 1921 as Destiny )” (Wikipedia)
• Buster Keaton. States Hitchcock watched and admired Keaton's work as a young man. “he watched Charlie Chaplin , D. W. Griffith and Buster Keaton , and particularly liked Fritz Lang 's Der müde Tod (released in Britain in 1921 as Destiny )” (Wikipedia)
• Der müde Tod by Fritz Lang. Hitchcock particularly liked Fritz Lang's film Der müde Tod (Destiny). “he watched Charlie Chaplin , D. W. Griffith and Buster Keaton , and particularly liked Fritz Lang 's Der müde Tod (released in Britain in 1921 as Destiny )” (Wikipedia)
• Dziga Vertov. Hitchcock became fascinated with Vertov's work through the London Film Society. “he became fascinated by the work of Soviet filmmakers Dziga Vertov , Lev Kuleshov , Sergei Eisenstein and Vsevolod Pudovkin” (Wikipedia)
• Lev Kuleshov. Hitchcock became fascinated with Kuleshov's work through the London Film Society. “he became fascinated by the work of Soviet filmmakers Dziga Vertov , Lev Kuleshov , Sergei Eisenstein and Vsevolod Pudovkin” (Wikipedia)
• Sergei Eisenstein. Hitchcock became fascinated with Eisenstein's work through the London Film Society. “he became fascinated by the work of Soviet filmmakers Dziga Vertov , Lev Kuleshov , Sergei Eisenstein and Vsevolod Pudovkin” (Wikipedia)
• Vsevolod Pudovkin. Hitchcock became fascinated with Pudovkin's work through the London Film Society. “he became fascinated by the work of Soviet filmmakers Dziga Vertov , Lev Kuleshov , Sergei Eisenstein and Vsevolod Pudovkin” (Wikipedia)
• The Interpretation of Dreams by Sigmund Freud (1899). The Interpretation of Dreams (Sigmund Freud) — culture for Psycho (via Psycho) “== Works == === Books === 1891 On Aphasia 1895 Studies on Hysteria (co-authored with Josef Breuer) 1899 The Interpretation of Dreams 1901 On Dreams (abridged version of The Interpretation of Dreams) 1904 The Psychopathology of Everyday L…” (en.wikipedia.org)
• Warning Shadows by Arthur Robison (1923). Warning Shadows (Arthur Robison) — ghost for Alfred Hitchcock (themoviedb.org)
• Waxworks by Paul Leni (1924). Waxworks (Paul Leni) — ghost for Alfred Hitchcock (themoviedb.org)
• The Cabinet of Dr. Caligari by Robert Wiene (1920). The Cabinet of Dr. Caligari (Robert Wiene) — titan for Psycho (via Psycho) (themoviedb.org)
• M by Fritz Lang (1931). M (Fritz Lang) — ghost for Psycho (via Psycho) (themoviedb.org)
• Oedipus Rex by Sophocles. Oedipus Rex (Sophocles) — culture for Psycho (via Psycho) (wikidata.org)

Peers and kindred spirits

• Peeping Tom by Michael Powell (1960). Peeping Tom (Michael Powell) — geography for Alfred Hitchcock (also via Psycho) “In both films, we learn that the killer has been damaged by the mistreatment they have suffered under the hands of a parent – in Norman’s case his overbearing mother, in Mark’s his scientist father.” (Liverpool University Press Blog)
• Vera Miles (1930). States Vera Miles was cast in 'The Wrong Man' after previously working with Hitchcock on one of his television productions. (also via Vertigo, Rear Window, Shadow of a Doubt) “The movie was directed by Alfred Hitchcock, and is one of only a few Hitchcock films based on real-life events.” (Wikipedia)
• Psycho (1960 film). Hitchcock produced and directed the film. (also via Alfred Hitchcock Presents, North by Northwest, Rope) “Psycho is a 1960 American horror and thriller film produced and directed by Alfred Hitchcock .” (Wikipedia)
• Saul Bass. Bass worked for Hitchcock. (also via Vertigo, Why Man Creates, Anatomy of a Murder) “During his 40-year career, Bass worked for some of Hollywood's most prominent filmmakers, including Alfred Hitchcock , Otto Preminger , Billy Wilder , Stanley Kubrick , and Martin Scorsese .” (Wikipedia)
• Salvador Dalí (1904). Dalí created a sequence for Hitchcock's film Spellbound. (also via The Persistence of Memory) “In 1945 he created the dream sequence for Alfred Hitchcock's film Spellbound .” (Wikipedia)
• Orson Welles (1915). Vertigo (Alfred Hitchcock) — collaborator for Orson Welles (via Vertigo, Citizen Kane, Touch of Evil) “In 2012, Hitchcock's psychological thriller Vertigo, starring Stewart, displaced Orson Welles' Citizen Kane (1941) as the British Film Institute's greatest film ever made based on its world-wide poll of hundreds of film critics.” (en.wikipedia.org)
• Taxi Driver by Bernard Herrmann (1976). Taxi Driver (Bernard Herrmann) — collaborator for Psycho (via Psycho) “Take Mean Streets . He does it like Italian opera. I’m doing his next film, called Taxi Driver .” (The Bernard Herrmann Society)
• Anatomy of a Murder by Saul Bass (1959). Anatomy of a Murder (Saul Bass) — collaborator for Psycho (via Psycho) “Psycho Sep 8, 1960 · summary Ocean’s Eleven Aug 10, 1960 · summary North by Northwest Sep 26, 1959 · summary Anatomy of a Murder Jul 1, 1959 · summary” (Art of the Title)
• The Outer Limits by Joseph Stefano (1963). The Outer Limits (Joseph Stefano) — collaborator for Psycho (via Psycho) “as well as Hitchcock 's Psycho and Van Sant's Psycho . Joe was the original producer for the sci-fi television series The Outer Limits and he wrote many of the episodes in the first year of that series.” (The MacGuffin)
• Les Diaboliques by Henri-Georges Clouzot (1955). Les Diaboliques (Henri-Georges Clouzot) — peer for Alfred Hitchcock (also via Psycho) “Clouzot's next big hit was Les Diaboliques, whose screenplay he took away from director Alfred Hitchcock.” (en.wikipedia.org)
• Taxi Driver by Martin Scorsese. Taxi Driver (Martin Scorsese) — collaborator for Alfred Hitchcock “He remembers responding "very strongly" to Alfred Hitchcock's Vertigo (1958).” (en.wikipedia.org)
• Why Man Creates by Saul Bass (1968). Why Man Creates (Saul Bass) — collaborator for Alfred Hitchcock “Hitchcock preferred to work with the best talent of his day—film poster designers such as Bill Gold and Saul Bass—who would produce posters that accurately represented his films.” (en.wikipedia.org)
• Ridley Scott (1937). Scott compared to Hitchcock's genre influence by FAZ. “the German newspaper FAZ compared Scott's influence on the science fiction film genre to Sir Alfred Hitchcock 's on thrillers and John Ford 's on Westerns.” (Wikipedia)
• Henry Fonda (1905). Notes that 'The Wrong Man' marked Henry Fonda's first collaboration with director Alfred Hitchcock. “It is Mr. Fon da’s initial performance for Hitchcock.” (Gadsden County Times (Quincy, Fla.) 190?-Current)
• Anthony Quayle (1913). Describes how Anthony Quayle was cast in 'The Wrong Man' after being met personally by Hitchcock. “He was cast when Hitch cock met him in a New York restaurant.” (Gadsden County Times (Quincy, Fla.) 190?-Current)
• Grace Kelly. Notes Hitchcock's desire to work again with Grace Kelly after Rear Window. “Hitchcock made a number of films with some of the biggest stars in Hollywood, including four with Cary Grant , four with James Stewart , three with Ingrid Bergman and three consecutively with Grace Kelly” (Wikipedia)
• Alma Reville. Hitchcock publicly credited Alma Reville as his closest collaborator in his AFI acceptance speech. “The first of the four is a film editor, the second is a scriptwriter, the third is the mother of my daughter, Pat, and the fourth is as fine a cook as ever performed miracles in a domestic kitchen. And their names are Alma Reville.” (Wikipedia)
• Angus MacPhail. Angus MacPhail was a screenwriter and collaborator with Hitchcock who coined the term 'MacGuffin'. “a term coined by the English screenwriter and Hitchcock collaborator Angus MacPhail” (Wikipedia)
• Transatlantic Pictures. Hitchcock co-founded the production company Transatlantic Pictures with Sidney Bernstein. “Hitchcock formed an independent production company, Transatlantic Pictures , with his friend Sidney Bernstein” (Wikipedia)
• London Film Society. Hitchcock was an early member of the London Film Society. “Hitchcock was one of the early members of the London Film Society, newly formed in 1925” (Wikipedia)
• David O. Selznick. Hitchcock worked under a long-term contract with producer David O. Selznick. “Selznick signed Hitchcock to a seven-year contract beginning in April 1939” (Wikipedia)
• Ben Hecht. Ben Hecht wrote the screenplay for Notorious in collaboration with Hitchcock's production package. “Selznick sold him, Ingrid Bergman, Cary Grant and Ben Hecht 's screenplay, to RKO Radio Pictures as a "package"” (Wikipedia)
• Ivor Montagu. Hitchcock socialised with fellow filmmaker Ivor Montagu in the London Film Society scene. “he would also socialise with fellow English filmmakers Ivor Montagu , Adrian Brunel and Walter Mycroft” (Wikipedia)
• Adrian Brunel. Hitchcock socialised with fellow filmmaker Adrian Brunel in the London Film Society scene. “he would also socialise with fellow English filmmakers Ivor Montagu , Adrian Brunel and Walter Mycroft” (Wikipedia)
• Walter Mycroft. Hitchcock socialised with fellow filmmaker Walter Mycroft in the London Film Society scene. “he would also socialise with fellow English filmmakers Ivor Montagu , Adrian Brunel and Walter Mycroft” (Wikipedia)
• Graham Cutts. Hitchcock collaborated with director Graham Cutts on Woman to Woman and other films. “Hitchcock worked on Woman to Woman (1923) with the director Graham Cutts” (Wikipedia)
• Cary Grant. Hitchcock made four films with Cary Grant. “Hitchcock made a number of films with some of the biggest stars in Hollywood, including four with Cary Grant , four with James Stewart , three with Ingrid Bergman and three consecutively with Grace Kelly” (Wikipedia)
• James Stewart. Hitchcock made four films with James Stewart. “Hitchcock made a number of films with some of the biggest stars in Hollywood, including four with Cary Grant , four with James Stewart , three with Ingrid Bergman and three consecutively with Grace Kelly” (Wikipedia)
• Ingrid Bergman. Hitchcock made three films with Ingrid Bergman. “Hitchcock made a number of films with some of the biggest stars in Hollywood, including four with Cary Grant , four with James Stewart , three with Ingrid Bergman and three consecutively with Grace Kelly” (Wikipedia)
• Robert Altman. Hitchcock hired Altman to direct episodes of his series. “Both works caught the attention of Alfred Hitchcock who hired Altman as a director for his CBS anthology series Alfred Hitchcock Presents .” (Wikipedia)
• Citizen Kane by Orson Welles (1941). Vertigo (Alfred Hitchcock) — collaborator for Citizen Kane (via Vertigo) “In 2012, Hitchcock's psychological thriller Vertigo, starring Stewart, displaced Orson Welles' Citizen Kane (1941) as the British Film Institute's greatest film ever made based on its world-wide poll of hundreds of film critics.” (en.wikipedia.org)
• Kind Hearts and Coronets by Robert Hamer (1949). Kind Hearts and Coronets (Robert Hamer) — geography for Alfred Hitchcock (themoviedb.org)
• Laura by Otto Preminger (1944). Laura (Otto Preminger) — peer for Alfred Hitchcock (themoviedb.org)
• The Twilight Zone by Rod Serling. Alfred Hitchcock Presents (Alfred Hitchcock) — peer for The Twilight Zone (via Alfred Hitchcock Presents) (themoviedb.org)
• Touch of Evil by Orson Welles (1958). Touch of Evil (Orson Welles) — geography for Psycho (via Psycho) (themoviedb.org)
• Sunset Boulevard by Billy Wilder (1950). Sunset Boulevard (Billy Wilder) — geography for Psycho (via Psycho) (themoviedb.org)
• In a Lonely Place by Nicholas Ray (1950). In a Lonely Place (Nicholas Ray) — geography for Psycho (via Psycho) (themoviedb.org)
• Eyes Without a Face by Georges Franju (1960). Eyes Without a Face (Georges Franju) — peer for Psycho (via Psycho) (themoviedb.org)
• The Innocents by Jack Clayton (1961). The Innocents (Jack Clayton) — peer for Psycho (via Psycho) (themoviedb.org)

Who Alfred Hitchcock influenced

• Brian De Palma (1940). De Palma paid homage to Hitchcock in three films. (also via Vertigo, Rear Window, Obsession) “His thrillers were often compared with those of Hitchcock.” (Fresh Air (WHYY/NPR))
• High Anxiety. Gross describes Brooks's film High Anxiety as his comic homage to director Alfred Hitchcock. (also via North by Northwest, The Birds, Vertigo) “High Anxiety (1977), Brooks's parody of Alfred Hitchcock , was written by Brooks, Clark, Rudy De Luca and Barry Levinson” (Wikipedia)
• Obsession by Brian De Palma (1976). Obsession (Brian De Palma) — legacy for Alfred Hitchcock (also via Vertigo) “Vertigo was also the basis for Obsession” (Wikipedia)
• François Truffaut (1932). The article identifies Hitchcock as Truffaut’s hero. (also via Shadow of a Doubt) “He wrote Hitchcock/Truffaut (1966), a book-length interview with his hero Alfred Hitchcock” (Wikipedia)
• Siouxsie and the Banshees (1976). Hitchcock’s films influenced the band. “With every song, the band create an unnerving atmosphere , whether Sioux is singing about crazed butchers or a Psycho -inspired riff is puncturing the soundscape.” (Far Out Magazine)
• Metropolis by Fritz Lang (1927). Hitchcock is named among the concept series’ inspirations. (also via Blackmail) “The Metropolis concept series draws inspiration from a wide range of musical, cinematic and other sources, ranging from Alfred Hitchcock to Debussy to Philip K. Dick .” (Wikipedia)
• Body Double. Body Double's plot draws from Rear Window. (via Rear Window, Vertigo) “The main plot from Rear Window was used for Body Double , while it also used elements of Vertigo” (Wikipedia)
• Halloween by John Carpenter (1978). Psycho (Alfred Hitchcock) — titan for Halloween (via Psycho) “many critics credit the film as pioneering the slasher genre, alongside other films such as Psycho (1960), The Texas Chain Saw Massacre and Black Christmas (both 1974)” (Wikipedia)
• The Texas Chain Saw Massacre by Tobe Hooper (1974). The Texas Chain Saw Massacre (Tobe Hooper) — legacy for Psycho (via Psycho) “Hooper’s camera stays on Marilyn, running alongside her, and the dread is as alive in that moment as it is in the shower scene of Hitchcock’s Psycho (1960).” (Interview Magazine)
• French New Wave. Alfred Hitchcock was admired and influential to New Wave filmmakers. “Charlie Chaplin , Alfred Hitchcock, Orson Welles, Howard Hawks , John Ford, Sam Fuller and Don Siegel [ 1 ] were held up in admiration.” (Wikipedia)
• Le Boucher by Claude Chabrol (1970). Le Boucher (Claude Chabrol) — legacy for Alfred Hitchcock “In 1957 Chabrol and Eric Rohmer co-wrote Hitchcock (Paris: Éditions Universitaires, 1957), a study of the films made by director Alfred Hitchcock through the film The Wrong Man.” (en.wikipedia.org)
• Jean-Luc Godard (1930). Godard as critic championed Hitchcock as an admired director. “Godard criticized mainstream French cinema's "Tradition of Quality" and championed Hollywood directors like Alfred Hitchcock and Howard Hawks” (Wikipedia)
• Zaha Hadid (1950). Critic Herbert Muschamp compares Zaha Hadid's career trajectory to suspense in an Alfred Hitchcock film. “Hadid has been my personal Alfred Hitchcock movie for roughly 20 years.” (Fresh Air (NPR))
• Cape Fear. The article says Cape Fear took cues from Hitchcock. “the film was a stylized thriller taking its cues heavily from Alfred Hitchcock and Charles Laughton 's The Night of the Hunter (1955).” (Wikipedia)
• Paul Thomas Anderson. The article says Anderson cited Hitchcock as an influence. “He has cited Robert Altman , Martin Brest , Jonathan Demme , Robert Downey Sr. , Alfred Hitchcock , John Huston , Alex Cox , Stanley Kubrick , Akira Kurosawa , Mike Leigh , David Mamet , Anthony Mann , Max Ophüls , Martin Scorsese , Stev…” (Wikipedia)
• The Bride Wore Black. The film is described as an homage to Hitchcock’s films. “The Bride Wore Black (1968), a brutal tale of revenge, is a stylish homage to the films of Hitchcock” (Wikipedia)
• Mississippi Mermaid. The film is identified as a Hitchcock homage. “Truffaut paid homage to Hitchcock in The Bride Wore Black (1968), Mississippi Mermaid (1969) and his last film, Confidentially Yours (1983).” (Wikipedia)
• Confidentially Yours. The film pays homage to Hitchcock and uses Hitchcockian themes. “Confidentially Yours (1983), Truffaut's homage to Hitchcock. It touches on numerous Hitchcockian themes such as private guilt vis-à-vis public innocence” (Wikipedia)
• The Birds (Alexander McQueen collection). Collection named after and inspired by Hitchcock's film. (via The Birds) “The Birds , which was named after the 1963 Alfred Hitchcock film The Birds and held at Kings Cross , had a roadkill theme” (Wikipedia)
• In the Mood for Love (2000). Vertigo (Alfred Hitchcock) — titan for In the Mood for Love (via Vertigo) “[T]he role of Tony in the film reminds me of Jimmy Stewart's in Vertigo” (Wikipedia)
• Dressed to Kill. Dressed to Kill is a homage to Psycho. (via Psycho) “Dressed to Kill was a note-for-note homage to Hitchcock's Psycho , including such moments as the surprise death of the lead actress” (Wikipedia)
• Tommy Doyle. Character name pays homage to Rear Window character. (via Rear Window) “Tommy Doyle is named after Lt. Det. Thomas J. Doyle ( Wendell Corey ) from Rear Window (1954)” (Wikipedia)
• Dr. Samuel Loomis. Character name derived from Psycho's Sam Loomis. (via Psycho) “Dr. Loomis' name was derived from Sam Loomis ( John Gavin ) from Psycho , the boyfriend of Marion Crane” (Wikipedia)
• The Man Who Knew Too Much. Advertisement copy explicitly compares the new Hitchcock film to his earlier work Rear Window, claiming it surpasses its thrills. (via Rear Window) “Alfred Hitchcock tops the thrills VKTiVKIhM of "Rear Window"... the excitement j of "To Catch A Thief"!” (The Key West Citizen (Key West, Fla.))
• Alexander McQueen (1969). The Birds (Alfred Hitchcock) — culture for Alexander McQueen (via The Birds) “The Birds, which was named after the 1963 Alfred Hitchcock film The Birds and held at Kings Cross, had a roadkill theme featuring clothes with tyre marks and the corsetier Mr Pearl in an 18-inch waist corset.” (en.wikipedia.org)
• Dementia 13. The script for Dementia 13 incorporated elements of Psycho. (via Psycho) “Coppola wrote a brief draft in one night, incorporating elements from Hitchcock's Psycho , [ 39 ] and the result impressed Corman enough to give the go-ahead.” (Wikipedia)
• Bette Davis (1908). Davis assessed What Ever Happened to Baby Jane? in relation to Psycho’s audience. (via Psycho) “Davis believed it could appeal to the same audience that had recently made Alfred Hitchcock 's Psycho (1960) a success.” (Wikipedia)
• Ralph Lauren (1939). North by Northwest (Alfred Hitchcock) — titan for Ralph Lauren (via North by Northwest) (themoviedb.org)
• Namwali Serpell (1980). Psycho (Alfred Hitchcock) — culture for Namwali Serpell (via Psycho) (themoviedb.org)
• Portishead (1991). Vertigo (Alfred Hitchcock) — culture for Portishead (via Vertigo)