Tippi Hedren

Biographie
Naissance	19 janvier 1930 (94 ans); New Ulm (Minnesota, États-Unis)
Nom de naissance	Nathalie Kay Hedren
Nationalité	Américaine
Formation	Huntington Park High School (en); West High School (en)
Activités	Actrice, mannequin
Période d'activité	Depuis 1950
Conjoints	Peter Griffith (d) (de 1952 à 1961); Noel Marshall (de 1964 à 1982)
Enfant	Melanie Griffith
Taille	1,65 m
Cheveux	Cheveux blonds
Yeux	Vert
Labels	Apex (en), Challenge (en)
Site web	The Shambala Preserve presented by The Roar Foundation
Distinctions	Golden Globe de la révélation féminine de l'année (1964); Genesis Award (2010); Étoile du Hollywood Walk of Fame
Films notables	Les Oiseaux; Pas de printemps pour Marnie

Nathalie Kay Hedren, dite Tippi Hedren, née le 19 janvier 1930 à New Ulm au Minnesota, est une actrice américaine et une militante de la cause animale.

D'abord mannequin, elle est découverte par Alfred Hitchcock en 1961 dans une publicité et le réalisateur fait d'elle sa nouvelle muse en lui offrant le rôle principal de deux de ses films : Les Oiseaux (1963) et Pas de printemps pour Marnie (1964)^[1]. Néanmoins, le contrôle obsessionnel qu'il veut exercer sur elle et ses avances répétées ont raison de leurs relations personnelles et professionnelles. Hitchcock fait en sorte de détruire la carrière d'Hedren et, lorsque celle-ci est libérée de son contrat, elle joue dans de nombreux films à petit budget. Bien qu'elle tourne sous la direction de réalisateurs tels que Charlie Chaplin, Alexander Payne ou David O. Russell, aucun de ses films suivant sa collaboration avec le « maître du suspense » ne rencontre le succès des Oiseaux.

En parallèle à une carrière cinématographique en déclin, Hedren met sa célébrité au service des causes qui lui tiennent à cœur. À la fin des années 1960, elle se découvre une passion pour les félins et se consacre à leur défense lorsqu'elle fonde, en 1983, la réserve animalière The Shambala Preserve.

Biographie

Naissance et enfance

Tippi Hedren naît le 19 janvier 1930 à New Ulm dans le Minnesota et passe son enfance à Lafayette, Minnesota^{[n 1]}^,^[2]. Son père, Bernard Carl Hedren (1893-1979), d'origine suédoise, est un propriétaire de magasin, et sa mère, Dorothea Henrietta (née Eckhardt) (1899-1994), est une institutrice d'origine germano-norvégienne^{[n 2]}^,^[3]. Ses parents lui donnent une éducation luthérienne qui lui servira tout au long de sa vie^{[n 3]}^,^[4].

Son véritable prénom, Nathalie, est jugé trop sérieux pour une enfant par son père qui la surnomme « Tupsa » puis « Tippi », signifiant « petite fille^{[n 4]}^,^[5]. »

Adolescente, Tippi Hedren souhaite devenir patineuse artistique. Ses parents n'ayant pas assez d'argent pour lui faire prendre des cours, elle observe ses amis pratiquer avec des enseignants et s'entraîne ensuite sur les lacs de Minneapolis. Cependant, elle se blesse et se voit contrainte d'arrêter après deux opérations au pied^{[n 5]}^,^[6].

Mannequinat

À l'âge de 14 ans, alors qu'elle s'apprête à rentrer chez elle après une journée d'école, une femme l'interpelle et lui demande de devenir modèle pour son grand magasin Donaldson's. Ses parents acceptent et Hedren envisage alors sérieusement de poursuivre son avenir dans le monde de la mode^{[n 6]}^,^[7]. Pour cela, elle déménage en Californie puis à New York où Eileen Ford, la fondatrice de l'agence qui porte son nom, l'engage en tant que mannequin pour un salaire de 35 dollars de l'heure^{[n 7]}^,^[8]. Hedren connaît un succès immédiat et devient souvent le sujet des couvertures de plusieurs magazines comme Cosmopolitan, Seventeen, Life ou encore Collier's Weekly^[9]^,^[10].

En 1950, elle fait de la figuration pour le film musical La Scandaleuse Ingénue de Henry Levin avec Robert Cummings et Joan Caulfield.

Deux ans plus tard, elle se marie avec le publicitaire Peter Griffith, avec qui elle a une fille, Melanie Griffith. Le couple divorce en 1961 et Hedren décide de poursuivre sa carrière de mannequin en Californie.

Certaine de remporter le même succès qu'à New York, elle n'hésite pas à louer une maison dans le quartier de Sherman Oaks à Los Angeles pour 500 dollars par mois^{[n 8]}^,^[11].

Carrière cinématographique

Collaboration avec Alfred Hitchcock

Les Oiseaux (1963)

Découverte et formation

Plan poitrine d'un homme au visage épais, front lisse et dégarni, bouche et joues tombantes, regard froid et désabusé — Le réalisateur Alfred Hitchcock fait de Tippi Hedren, après Ingrid Bergman et Grace Kelly, sa nouvelle muse.

Elle joue alors dans une douzaine de publicités dont l'une qui promeut une boisson diététique appelée Sego. Le 13 octobre 1961, après sa diffusion dans l'émission The Today Show, Hedren reçoit un appel de la société de production cinématographique Universal Pictures. Un homme l'informe qu'un réalisateur a vu cette publicité et souhaite la rencontrer^[1]. Il lui demande d'apporter différentes photos et films de ses publicités mais refuse de dévoiler le nom de celui qu'elle intéresse^{[n 9]}^,^[12].

La semaine suivante, elle rencontre Herman Citron, agent du studio. Ce dernier lui révèle alors qu'Alfred Hitchcock souhaite lui faire signer un contrat d'une durée de sept ans pour un salaire de cinq cents dollars par semaine^{[n 10]}^,^[12]. Abasourdie à l'idée de travailler pour lui, elle doit signer avant même de rencontrer celui que l'on surnomme le « maître du suspense^{[n 11]}^,^[13]. » Elle pense alors qu'elle va apparaître dans sa célèbre série Alfred Hitchcock présente et est ravie de trouver du travail pour, entre autres, pouvoir prendre soin de sa fille^{[n 12]}^,^[14].

C'est le 24 octobre qu'elle le rencontre. Le réalisateur discute avec elle de voyages, de nourriture, de vêtements mais n'aborde pas une seule fois la raison pour laquelle il l'a engagée^{[n 13]}^,^[12]. Selon le chef décorateur Robert F. Boyle, Hitchcock est particulièrement sensible aux femmes comme Ingrid Bergman et Grace Kelly qui « se comportent comme des dames bien élevées » et ajoute que « Tippi irradiait cette qualité. Il était très impressionné par la façon dont elle marchait^{[n 14]}^,^[15]. »

Hedren tourne alors des bouts d'essai, interprétant différentes scènes de films du metteur en scène. Elle reprend les rôles principaux féminins de Rebecca (1940), Les Enchaînés et La Main au collet joués respectivement par Joan Fontaine, Ingrid Bergman et Grace Kelly. Hitchcock la fait répéter chez lui avec sa femme, Alma, et l'acteur Martin Balsam lui donne la réplique dans un essai filmé dont le tournage dure trois jours pour un coût d'environ trente mille dollars^{[n 15]}^,^[12]. Le réalisateur devient son professeur d'art dramatique et lui apprend à analyser un scénario, à s'immerger dans un rôle et à comprendre les relations entre les différents personnages d'une histoire^{[n 16]}^,^[16].

Quatre mois plus tard, Hedren est invitée à dîner au restaurant Chasen's par Hitchcock, son épouse, et le responsable du studio Universal, Lew Wasserman^{[n 17]}^,^[14]. Hitchcock lui offre alors une broche ornée de trois oiseaux dorés en vol avec de très petites perles et lui demande de jouer le rôle de Melanie Daniels dans le film qu'il prépare et intitulé Les Oiseaux^{[n 18]}^,^[12]. Hedren est sous le choc d'autant plus qu'il ne lui était jamais venu à l'idée de se voir confier le rôle principal d'un film aussi important^{[n 19]}^,^[14].

Préparation

Écrit par le scénariste Evan Hunter et inspiré par la nouvelle éponyme de Daphne du Maurier, l'histoire des Oiseaux débute avec Melanie Daniels, une jeune femme de la haute société de San Francisco. Celle-ci se rend au village de Bodega Bay pour amener deux inséparables en cage à une petite fille qu'elle ne connaît pas, mais dont le frère, Mitch Brenner (Rod Taylor), un avocat qu'elle n'a rencontré qu'une seule fois, lui paraît séduisant. À peine arrivée, elle est blessée au front par une mouette. Elle est alors invitée à dîner chez Mitch dont la mère, Lydia (Jessica Tandy), se révèle être une femme jalouse et possessive. Le lendemain, au cours d'un goûter d'anniversaire, des mouettes attaquent les enfants présents, puis le soir des moineaux en grand nombre font irruption par la cheminée des Brenner. Le jour suivant, des corbeaux attaquent les enfants à la sortie de l'école. Les mouettes attaquent ensuite la ville et provoquent un incendie. Ces différentes épreuves rapprochent Melanie de Mitch et elle se fait même accepter par Lydia. Cependant, tôt le matin, seule éveillée, elle entend un bruit à l'étage. Elle monte et découvre un trou dans le toit. Des dizaines d'oiseaux l'assaillent. Elle finit par s'effondrer, bloquant la porte. Mitch et Lydia viennent à son secours. Sérieusement blessée, Melanie doit être transportée à l'hôpital. Cette dernière, accompagnée de Mitch, sa mère et sa sœur, réussit à sortir et à s'installer dans la voiture et s'éloigne très lentement, parmi des milliers d'oiseaux massés partout sur le sol et les bâtiments.

Afin qu'elle soit telle qu'il le souhaite, Hitchcock transforme l'apparence d'Hedren. Au début de l'année 1962, il organise plusieurs réunions avec ses collaborateurs afin de définir l'aspect du personnage de Melanie. Edith Head et Rita Riggs s'occupent des costumes et Virginia Darcy et Howard Smith (acteur), des coiffures et du maquillage. Hitchcock sélectionne alors un manteau de vison pour suggérer le luxe et un tailleur vert amande pour les vêtements, un bracelet, une bague et un rang de perles pour les bijoux et choisit une coiffure dégageant le visage^{[n 20]}^,^[15].

Il s'occupe lui-même du jeu de Hedren, ravi qu'elle soit une débutante^{[n 21]}^,^[17]. Cette dernière participe à toutes les étapes de préparation du film et estime avoir appris en trois ans ce qui, autrement, lui en aurait pris quinze^{[n 22]}^,^[15]. Hitchcock ne lui dit pourtant que peu de choses quant au personnage qu'elle doit jouer. Il lui suggère cependant que celui-ci peut être comparé à celui de Tallulah Bankhead dans son film Lifeboat (1944) car l'un comme l'autre sont « au début artificiels et blasés, et deviennent plus naturels et humains au cours des épreuves physiques^{[n 23]}^,^[15]. »

Un tournage d'abord merveilleux puis éprouvant

Le tournage, qui débute le 5 mars 1962 pour une durée de quatre mois, est pour Hedren « merveilleux^{[n 24]}^,^[17] », bien qu'elle soit soumise à un emploi du temps très strict. Il ne lui est en effet accordé qu'une journée et demi de repos sur les six mois que dure le tournage^{[n 25]}^,^[18].

Tippi Hedren dans *Les Oiseaux*. Lors du tournage de la dernière scène, un oiseau manque de lui faire perdre un œil.

Certaines séquences s'avèrent difficiles à tourner et c'est Hedren qui en souffre le plus. Lorsque les oiseaux attaquent la ville, son personnage trouve refuge dans une cabine téléphonique. Une fausse mouette est attachée par un câble pour cogner contre une vitre censée être du verre sécurit. Lorsque l'oiseau arrive, la vitre se brise sur le visage d'Hedren. Elle doit alors passer l'après midi à enlever les petits bouts de verre enfoncés dans sa peau^{[n 26]}^,^[12].

Mais c'est la scène finale où elle se fait attaquer par les oiseaux dans un grenier qui s'avère être une épreuve aussi pénible physiquement que moralement. À la lecture du scénario, Hedren demande à Hitchcock pourquoi Melanie irait à l'étage après toutes ces attaques. Le réalisateur lui répond simplement : « Parce que je vous le dis^{[n 27]}^,^[19]. » Hedren lui fait ensuite part de ses inquiétudes sur la façon dont cette scène sera tournée. Il lui assure que des oiseaux mécaniques seront utilisés^{[n 28]}^,^[19]. Il est cependant question d'utiliser de vrais oiseaux mais elle ne l'apprend que le jour où elle doit commencer à la tourner. C'est l'assistant réalisateur, Jim Brown, qui, gêné, le lui annonce. Il s'agit de l'une des dernières prises de vues à filmer et Hedren, qui a vu les blessures des dresseurs, est effrayée à l'idée de devoir affronter des mouettes et des corbeaux^{[n 29]}^,^[12]. Pour cette scène, un décor spécial est construit, entouré par une énorme cage. Pendant cinq jours, les accessoiristes jettent les oiseaux sur elle. Après deux journées de tournage, Hedren commence à être fatiguée puis devient nerveuse au fur et à mesure que le tournage avance^{[n 30]}^,^[15]. Alors qu'il vient visiter le plateau, l'acteur Cary Grant lui dit, après avoir observé quelques prises, qu'elle est la femme la plus courageuse qu'il ait rencontrée^{[n 31]}^,^[12]. Le vendredi, alors que son personnage s'écroule à terre, des oiseaux sont attachés à ses vêtements. L'un d'eux s'approche de son visage et manque de lui faire perdre un œil. Exténuée, Hedren fait arrêter le tournage et s'assoit au milieu du plateau pour pleurer^{[n 32]}^,^[12]. Cette expérience est pour elle un cauchemar et lorsqu'elle revient la semaine suivante, elle se rend fatiguée dans sa loge pour se préparer mais s'endort et personne n'est capable de la réveiller^{[n 33]}^,^[12]. Un médecin informe Hitchcock qu'il lui faut du repos pour une semaine, ce à quoi le réalisateur répond qu'il faut absolument qu'elle tourne les derniers plans. Hedren se rappelle avoir entendu le médecin demander alors à Hitchcock s'il essayait de la tuer^{[n 34]}^,^[19]. Elle est alors remplacée durant cinq jours par une doublure pour les scènes suivant l'attaque et des gros plans de son visage sont ajoutés par la suite^{[n 35]}^,^[20]. Selon Hedren, Hitchcock a choisi une débutante pour le film à cause de ces conditions extrêmes de travail^{[n 36]}^,^[15].

Pendant le tournage des Oiseaux, le réalisateur devient de plus en plus possessif à l'égard de sa nouvelle vedette^[1]^,^[21]. Il fait tout d'abord encadrer son prénom d'apostrophes de part et d'autre dès qu'il lui est associé. Il s'agit, selon Donald Spoto, auteur de plusieurs livres sur le metteur en scène, d'un premier acte visant à faire d'Hedren sa propriété^{[n 37]}^,^[22]. Il fait ensuite surveiller ses activités privées hors plateau par deux membres de son équipe et leur demande de savoir où elle va, qui sont ses amis et comment elle passe son temps libre^{[n 38]}^,^[22]. Il conseille également Hedren sur la façon de s'habiller ainsi sur que ce qu'elle doit boire ou manger^{[n 39]}^,^[23] et lui offre régulièrement des fleurs, des bijoux et du vin^{[n 40]}^,^[24].

Hitchcok l'embrasse même de force alors qu'ils sont seuls à l'arrière d'une voiture^[25] en route vers le plateau^{[n 41]}^,^[23]. Selon Rod Taylor, Hitchcock interdit petit à petit que l'on s'approche d'elle sur le tournage des Oiseaux^{[n 42]}^,^[23]. Sa gêne va croissant lorsqu'elle remarque qu'il la regarde sans interruption^{[n 43]}^,^[26]. Suzanne Pleshette, également sa partenaire dans Les Oiseaux, lui dit un jour que cette situation n'est pas toujours la même dans le milieu du cinéma^{[n 44]}^,^[27].

Promotion, sortie et réception du film

Après s'être rétablie, Hedren participe activement à la grande campagne de promotion du film qui débute avec le slogan : « Les Oiseaux arrivent^{[n 45]}^,^[28]! » Dès les premières projections privées, les personnes présentes, dont Lew Wasserman et la femme d'Hitchcock, s'accordent à dire que l'interprétation d'Hedren est remarquable. Le réalisateur ne cache pas son souhait de faire de cette dernière sa « nouvelle Grace Kelly »^[1]. Il déclare au journaliste Bob Thomas de l'Associated Press, quelques semaines après le début du tournage, que sa nouvelle interprète est remarquable et ajoute qu'elle « a déjà atteint les hauts et les bas de la terreur^{[n 46]}^,^[29]. » En décembre 1962, alors qu'elle fait la couverture du magazine Look, Hitchcock estime avoir trouvé meilleur que Kelly en Hedren en citant son tempo « plus rapide », sa désinvolture et son humour^{[n 47]}^,^[29].

*Les Oiseaux* est un succès mais reçoit des critiques mitigées lors de sa sortie.

Présenté en avant-première mondiale au Festival de Cannes 1963, Les Oiseaux fait l'ouverture mais n'est pas sélectionné pour la compétition officielle. En sortant de la projection, le public est sous le choc :

« Ce n'est pas le lâcher de quelques pigeons débonnaires, ni le charme de son interprète Tippi Hedren qui pourront atténuer l'impression d'horreur ressentie à la présentation de son film Les Oiseaux. »

— Édition spéciale consacrée au 16^e festival international du film de Cannes^[30]

La critique française salue le film et considère sa réalisation comme « remarquable^[30]. » En Angleterre, The Times écrit qu'il est « brillamment dirigé. »

À l'inverse, les critiques américaines sont partagées et majoritairement négatives. Si The New York Times reconnaît le talent d'Alfred Hitchcock de rendre effrayant la créature la plus innocente et l'ami le plus mélodieux de l'homme dans un vrai film d'épouvante^{[n 48]}^,^[31], The New Yorker n'y voit qu'un « triste échec^{[n 49]}^,^[28]. » Le Time estime que l'intrigue est « idiote^{[n 50]} » et Newsweek regrette que la logique soit « manipulée de façon inexplicable^{[n 51]}^,^[28]. » Quant à Hedren, la presse étrangère lui décerne le Golden Globe de la révélation féminine de l'année, prix qu'elle partage avec Elke Sommer pour Pas de lauriers pour les tueurs et Ursula Andress pour James Bond 007 contre Dr. No.

Les Oiseaux dispose d'un budget de 2 500 000 dollars, c'est-à-dire le film le plus coûteux d'Hithcock jusqu'à présent et le premier après son plus grand succès, Psychose (1960). Lors de sa sortie, il est un succès au box-office avec 11 403 559 $ de recettes aux États-Unis et est classé 16^e parmi les 20 films les plus regardés de l'année 1963. Hitchcock et Universal considère cependant le film comme une déception au regard de Psychose qui avait rapporté 32 000 000 $ rien qu'aux États-Unis.

Pas de printemps pour Marnie (1964)

Genèse du projet

Tippi Hedren dans *Marnie*. Elle accepte le rôle-titre après le refus de Grace Kelly de revenir au cinéma.

En 1960, après Psychose, Hitchcock découvre le roman de Winston Graham et souhaite faire revenir Grace Kelly au cinéma. Devenue princesse de Monaco, Kelly refuse tous les projets qu'on lui soumet depuis 1956 mais se montre intéressée par Marnie^{[n 52]}^,^[32]. C'est d'ailleurs le seul projet que son mari, le prince Rainier III de Monaco soutient^{[n 53]}^,^[33]. Hitchcock fait alors annoncer le retour de Grace Kelly à la presse et décrit lors d'une interview son sex-appeal comme « le plus merveilleux du monde. » Le peuple monégasque s'oppose alors au projet et à voir leur princesse jouer une kleptomane^{[n 54]}^,^[33].

D'autre part, le prince Rainier entre en 1962 en conflit avec la France. En effet, le général Charles de Gaulle est irrité par les exonérations d'impôts envers les citoyens français habitant Monaco^{[n 55]}^,^[34]. De plus, le studio Metro-Goldwyn-Mayer, qui avait un contrat d'exclusivité avec Kelly quand elle faisait encore du cinéma, écrit à Hitchcock en lui précisant qu'elle ne peut refaire un film qu'avec eux et demande à participer à Marnie^{[n 56]}^,^[35]. Grace Kelly décide alors d'abandonner définitivement le cinéma et écrit à Hitchcock en lui affirmant être « déchirée » par cette décision^{[n 57]}^,^[34]^,^{[n 58]}^,^[36].

Après le refus de Kelly, le scénariste Joseph Stefano, qui avait déjà écrit Psychose, essaye de persuader Hitchcock de poursuivre le projet et lui suggère le nom de cinq actrices. Sa préférée est Eva Marie Saint qui a déjà joué pour le réalisateur dans La Mort aux trousses (1959) mais Hitchcock n'est plus intéressé par le projet^{[n 59]}^,^[37]. Lorsqu'il souhaite finalement faire rédiger le scénario, Stefano n'est plus disponible^{[n 60]}^,^[38]. Evan Hunter, le scénariste des Oiseaux, se voit alors confier la tâche d'écrire un premier traitement. Ce dernier ne peut se résoudre à écrire une scène, celle où Mark viole Marnie pendant leur lune de miel. Pour lui, que ce soit Sean Connery ou Rock Hudson, le personnage va perdre toute sympathie auprès du public^{[n 61]}^,^[39]. Hitchcock lui fait alors savoir que ses services ne sont plus nécessaires et le fait remplacer par Jay Presson Allen.

Préparation du film

Après avoir envisagé plusieurs actrices dont Claire Griswold et Vera Miles, Hitchcock choisit finalement Hedren. C'est pendant le tournage des Oiseaux que cette dernière apprend qu'elle va jouer Marnie^{[n 62]}^,^[40]. Elle émet cependant des réserves sur ses capacités à pouvoir jouer un personnage aussi complexe bien qu'elle sache que ce rôle est l'opportunité d'une carrière^{[n 63]}^,^[41].

Afin de la préparer à jouer Marnie, le réalisateur étudie chaque scène du scénario avec elle et lui parle amplement du personnage^{[n 64]}^,^[40]. Elle discute à plusieurs reprises avec lui et la scénariste et lit le roman de Graham^{[n 65]}^,^[42]. Hitchcock laisse les autres acteurs jouer de la façon qu'ils souhaitent mais consacre toute son attention sur Hedren^{[n 66]}^,^[43].

Bien qu'elle ne soit pas une actrice adepte de la Méthode^{[n 67]}^,^[41], Hedren utilise ses propres ressentiments pour jouer un rôle, parle à des psychiatres^{[n 68]}^,^[2] et découvre en Marnie un personnage complexe, triste et émouvant^{[n 69]}^,^[40]. Rassurée par la confiance que lui porte le réalisateur, elle accepte également le rôle pour la raison qu'elle est sous contrat^{[n 70]}^,^[14]. Elle est en effet déstabilisée par l'attitude d'Hitchcock à son égard qui garde un œil constant sur elle.

L'acteur Sean Connery, qui vient de faire un triomphe avec le premier volet de la série James Bond, James Bond 007 contre Dr. No (1962), est choisi pour lui donner la réplique dans le rôle de Mark Rutland. Lorsqu'elle l'apprend, Hedren demande à Hitchcock comment Marnie peut être une femme frigide en face d'un homme aussi séduisant que Connery. Le réalisateur lui répond simplement : « Cela s'appelle jouer la comédie, ma chère^{[n 71]}^,^[40]. »

Hitchcock se montre une nouvelle fois exigeant concernant son apparence. Hedren alterne alors entre la promotion des Oiseaux et les séances de maquillage, d'essayage et de coiffure. En raison des changements fréquents d'identité de Marnie, plusieurs costumes ainsi que différentes couleurs et formes de cheveux sont requis^{[n 72]}^,^[44]. Edith Head s'occupe une nouvelle fois des robes et des tailleurs tandis qu'Alexandre de Paris crée des styles de coiffures pour chaque scène, à la grande satisfaction d'Hitchcock^{[n 73]}^,^[45].

Un tournage difficile marqué par l'obsession d'Hitchcock

Synopsis

Dans *Marnie*, Tippi Hedren joue le rôle d'une voleuse compulsive.

Pas de printemps pour Marnie est l'histoire d'une jeune femme névrosée, menteuse et voleuse compulsive. Après avoir volé un employeur, elle change d'identité et se fait embaucher à un nouvel endroit. Lorsqu'elle se présente dans la maison d'édition que dirige Mark Rutland (Sean Connery), celui-ci la reconnaît et l'engage comme secrétaire comptable sans rien laisser paraître. Il lui fait la cour mais elle disparaît avec l'argent de son coffre.

Mark s'en aperçoit, retrouve sa trace et lui propose une alternative : soit elle l'épouse, soit il la livre à la police.

Après le mariage, Marnie se révèle être une femme frigide, ne supportant pas qu'un homme la touche. Elle tente même de se suicider pendant leur voyage de noces après qu'il l'ait forcé à un rapport sexuel.

Mark découvre qu'elle lui ment en se disant orpheline. Il retrouve la trace de sa mère grâce à un détective. Marnie s'apprête alors une nouvelle fois à voler le coffre de sa compagnie mais Mark la surprend et l'emmène de force voir sa mère, espérant enfin découvrir la raison de la ou des névroses de Marnie. Effectivement, Marnie se remémore alors ce qui la hante depuis son enfance : à l'âge de 5 ans, à l'aide d'un tisonnier, elle a tué un marin qui brutalisait sa mère.

Tournage

Marnie marque la fin de la collaboration entre Hitchcock et Hedren^[1]. Pendant la préparation de Marnie, elle se fiance avec son agent, Noel Marshall. Cet événement déplaît fortement à Hitchcock qui répète constamment à Hedren qu'un acteur ne doit pas se marier mais rester dévoué à son travail^{[n 74]}^,^[42].

Dans *Marnie*, Mark Rutland (Sean Connery) essaye de posséder Marnie. Hors plateau, Hitchcock tente de faire pareil avec Tippi Hedren.

Le tournage, reporté à la suite de l'assassinat du président des États-Unis, John Fitzgerald Kennedy, commence le 26 novembre 1963^{[n 75]}^,^[46]. La première moitié est achevée à la période de Noël et les scènes les plus difficiles sont prévues pour l'année suivante. La tension entre le réalisateur et son actrice principale est constante. Hedren fait de son mieux pour le repousser. Il lui raconte un jour l'un de ses rêves : « Vous étiez dans le séjour de ma maison de Santa Cruz, et il y avait une lueur, un arc-en-ciel, autour de vous. Vous êtes venue près de moi et m'avez dit : « Hitch, je vous aime. Je vous aimerai toujours... » Ne comprenez-vous pas que vous êtes tout ce que j'ai jamais rêvé d'avoir ? » Hedren lui répond alors que « c'était un rêve Hitch, rien qu'un rêve^{[n 76]}^,^[47]. »

Selon l'actrice Diane Baker, qui joue la rivale de Marnie dans le film, Hitchcock se sert d'elle pour provoquer Hedren. Le plus difficile pour elle est de voir la manière dont le réalisateur traite sa partenaire^{[n 77]}^,^[48]. Régulièrement invitée à déjeuner chez lui, Baker est stimulée par les conversations mais se sent mal à l'aise car Hedren est toujours absente^{[n 78]}^,^[49]. D'autre part, sur le plateau, lorsque cette dernière se trouve à proximité, Hitchcock parle à Baker et lui dit quelque chose de « méchant » à propos d'Hedren, dans l'espoir que ses paroles la blessent. Il rassure néanmoins Baker qu'il ne dit jamais rien de semblable à son sujet^{[n 79]}^,^[49]. La jeune actrice, perturbée par cette situation, ne souhaite plus écouter ses médisances, ce qu'Hitchcock apprend lorsqu'une personne du studio lui rapporte une conversation qu'il a eue avec elle^{[n 80]}^,^[49].

Fin janvier 1964, Hedren demande deux jours de congés pour aller à New York et recevoir le prix de l'actrice la plus prometteuse de l'année que le magazine Photoplay souhaite lui remettre. Il est également prévu qu'elle fasse une apparition au talk show de Johnny Carson, The Tonight Show. Hitchcock refuse de lui accorder cette permission et appelle la chaîne pour annuler la remise du prix et l'interview. Furieuse et incapable de retenir sa colère, Hedren, au cours d'une violente altercation en présence de l'équipe du film, traite le réalisateur de « gros porc ». À partir de cet instant, Hitchcock donne ses indications par intermédiaires à celle qu'il appelle dorénavant « cette fille^{[n 81]}^,^[50]. » Le seul commentaire qu'il donne à ce propos est à son biographe, John Russell Taylor : « Elle a fait ce que personne n'est autorisé à faire. Elle a fait mention de mon poids^{[n 82]}^,^[51]. »

Hedren reste discrète malgré la situation qu'elle traverse. Jay Presson Allen lui conseille alors de finir le film et de reprendre ensuite le cours de sa vie et d'être heureuse^{[n 83]}^,^[49]. D'autre part, Virginia Darcy essaye d'intervenir auprès d'Hitchcock en lui demandant de ne plus être possessif envers Hedren^{[n 84]}^,^[49]. L'épouse d'Hitchcock vient, quant à elle, lui présenter ses excuses et s'avoue navrée de ce qu'elle subit même si elle ne fait rien pour l'aider^{[n 85]}^,^[52]. Bien qu'elle essaie de ne jamais se trouver seule en sa présence^{[n 86]}^,^[26], Hitchcock se rend dans la loge d'Hedren fin février et lui fait une « proposition sexuelle qu'elle ne pouvait ni ignorer ni traiter avec désinvolture^{[n 87]}^,^[53] » selon Donald Spoto. Le mois suivant, alors qu'elle s'apprête à tourner la scène où Sean Connery la sauve du suicide, le réalisateur lui demande de se rendre dans son bureau. Hitchcock lui demande alors « comme si c'était la chose la plus naturelle au monde, qu'à partir de ce moment, il s'attendait à me voir être sexuellement disponible et accessible pour lui - chaque fois qu'il le désirait^{[n 88]}^,^[54] » se souvient Hedren. Consternée et humiliée^{[n 89]}^,^[55], l'actrice rejette toutes les demandes du réalisateur^{[n 90]}^,^[14] et c'est à ce moment qu'elle décide, après près de trois années d'efforts à essayer de faire face, de mettre un terme à leurs rapports^{[n 91]}^,^[54].

Après le tournage de Marnie, Hedren demande que son contrat lui soit rendu. Hitchcock refuse en lui rappelant qu'elle doit s'occuper de ses parents et de sa fille. Mais Hedren a pris sa décision et lui répond que personne ne veut qu'elle soit aussi malheureuse. Hitchcock lui dit alors : « Je vais ruiner votre carrière », ce qui importe peu à Hedren qui souhaite avant tout sortir de cette « horrible situation^{[n 92]}^,^[14]. » À cause du pouvoir des studios dans les années 1960 et le fait que les plaintes pour harcèlements sexuels n'existent pas encore, Hedren ne peut rien faire contre Hitchcock. Elle ne parle de cette situation à personne, pas même à ses parents de peur de les affecter^{[n 93]}^,^[26].

Réception du film

*Marnie* reçoit des critiques en majorité défavorables lors de sa sortie.

Marnie sort le 22 juillet 1964 aux États-Unis et le 6 novembre 1964 en France sous le titre Pas de printemps pour Marnie. Le film reçoit des critiques en majorité négatives. Le New York Times évoque « une fascinante étude d'une relation sexuelle et le film le plus décevant du maître depuis des années^{[n 94]}^,^[56]. » Pour le New Yorker, il ne s'agit que d'un « film stupide et lamentable » tandis que le Los Angeles Times le trouve « improbable de façon insistante » et « efficace seulement par moments. » Le New York Post écrit cependant qu'il s'agit d'un Hitchcock « supérieur » grâce à « la chaleur humaine et à la compassion^[57]. »

En France, Le Figaro n'y voit qu'un film « ennuyeux, geignard, sans mystère, sans malice et sans humour^{[n 95]}. » Les Lettres françaises décrit l'histoire comme « laborieuse de traumatisme infantile » qui « distille un profond ennui^{[n 96]}. » Pour Combat, Marnie est un film qui « excite l’esprit et taquine les nerfs » et se rapproche de Sueurs froides (1958)^{[n 97]}, autre film d'Hitchcock ; et Télérama le voit comme le « plus beau film d'Hitchcock^{[n 98]} » et s'insurge contre les critiques faites au film :

« Rarement critiques furent plus féroces que celles qui ont accueilli Marnie : en dehors du compte-rendu publié dans ces colonnes, on ne lit partout qu’invectives et dénigrement. Cette volonté unanime de saccager le mythe d’Alfred Hitchcock a néanmoins quelque chose de suspect. À l’admiration inconditionnelle de naguère succède une allergie sans rémission. Ce qui passait hier pour être intelligent, mené de main de maître, se trouve aujourd’hui conspué, ravalé plus bas que terre^[58]. »

— Henry Chapier, Combat

Marnie rapporte 7 000 000 de dollars au box-office, dont 3 300 000 dollars aux États-Unis, pour un budget de 3 000 000 de dollars.

Après Hitchcock, de Chaplin à la découverte de l'Afrique : 1965 - 1970

Après Marnie (1965 - 1966)

Après *Marnie*, Hitchcock fait en sorte de ruiner la carrière d'Hedren en refusant toutes les propositions de films qu'il reçoit pour elle.

Après Marnie, Hedren est l'actrice la plus en vue à Hollywood et plusieurs réalisateurs et producteurs souhaitent l'avoir dans leurs films. Hitchcock est cependant, d'après les termes de son contrat, autorisé à accepter ou refuser toutes les offres qu'il reçoit pour elle^{[n 99]}^,^[59]. Lorsqu'il est contacté par des réalisateurs comme Ralph Levy qui veut faire jouer Hedren dans Les Séducteurs (1964) avec Marlon Brando et David Niven^{[n 100]}^,^[60], Edward Dmytryk pour Mirage (1965) avec Gregory Peck^{[n 101]}^,^[61] ainsi que François Truffaut pour Fahrenheit 451 (1966) avec Oskar Werner^{[n 102]}^,^[62], Hitchcock les informe qu'elle n'est pas disponible^{[n 103]}^,^[14]. Il continue de lui payer un salaire de 600 dollars par semaine et refuse toutes les autres offres qu'il reçoit pour elle.

Il essaye toutefois de la convaincre de jouer de nouveau pour lui dans un film intitulé Mary Rose mais Hedren refuse catégoriquement de revenir sur sa décision^{[n 104]}^,^[63]. Lorsqu'il finit par donner le contrat à Universal, elle se voit obligée d'apparaître dans deux de leurs séries télévisées : Haute Tension (1964) et Match contre la vie^{[n 105]}^,^[64]. Lorsque le studio lui demande de jouer dans un western pour la télévision, elle refuse et récupère finalement son contrat. Elle est ravie de pouvoir accepter de nouveaux films^{[n 106]}^,^[65] mais ignore qu'elle est diffamée par Hitchcock à Hollywood^{[n 107]}^,^[66].

La Comtesse de Hong Kong (1967)

Elle est alors contactée par le réalisateur Charles Chaplin qui prépare son prochain film, La Comtesse de Hong-Kong, et lui propose de jouer l'un des rôles principaux aux côtés de Marlon Brando et Sophia Loren^[1]. Le film raconte l'histoire de Ogden Mears (Brando), un riche diplomate américain, qui, lors d'une croisière, loue les services d'une comtesse russe mais également call girl (Loren) pour la nuit. De retour sur le paquebot, il la trouve dans sa cabine et décide de la cacher avant de finalement tomber amoureux d'elle. Cependant, son épouse Martha (Hedren) l'attend à son arrivée à Hawaï et un divorce ruinerait ses ambitions politiques.

Tippi Hedren dans *La Comtesse de Hong Kong*.

Comme Brando, Hedren doit accepter de faire le film sans lire le scénario, Chaplin ayant peur que l'histoire soit divulguée à la presse. Lorsqu'elle se rend à Londres pour le tournage, Hedren découvre que son personnage, l'épouse de Brando, n'apparaît qu'à la fin et dans seulement quatre scènes. Chaplin lui confie alors qu'il souhaitait absolument l'avoir pour ce film et qu'il avait peur qu'elle refuse s'agissant d'une apparition. Hedren lui répond qu'elle l'aurait fait de toute façon, tous les acteurs de l'époque demandant à y figurer^{[n 108]}^,^[67]. Elle lui demande s'il peut lui écrire quelque scènes supplémentaires mais cela implique de changer la construction du film et Chaplin ne peut s'y résoudre^{[n 109]}^,^[68].

Travailler avec lui est pour Hedren très amusant mais aussi étrange^{[n 110]}^,^[18]. Elle expérimente une nouvelle méthode de travail, totalement à l'opposée de celle d'Hitchcock. En effet, Chaplin mime chaque scène du film et demande à son acteur de reproduire ce qu'il fait^{[n 111]}^,^[69]. Le réalisateur apprécie qu'elle soit facile à diriger et admire le fait qu'elle soit une actrice détendue^{[n 112]}^,^[68].

Sorti en 1967, La Comtesse de Hong Kong est un désastre aussi bien commercial que critique^[1]. The New York Times le décrit comme « épouvantable^{[n 113]}^,^[70] » tandis que Variety estime qu'il s'agit d'une « farce^{[n 114]}^,^[71]. » Ayant tourné ses premiers films avec Hitchcock et Chaplin, le début de carrière d'Hedren est, selon la presse de l'époque, « spectaculaire^{[n 115]}. » Ces trois premières expériences ayant été pour elle très spéciales, elle déclare vouloir attendre pour un autre projet de la même envergure^{[n 116]}^,^[72].

Toujours en 1967, elle se distingue dans une pièce, A Hatful Of Rain, saluée et qualifiée de l'une « des plus puissantes soirées au théâtre » par la critique^{[n 117]}^,^[73].

Satan's Harvest (1970)

Tippi Hedren accepte de tourner *Satan's Harvest* seulement parce qu'il peut lui permettre d'aller en Afrique.

Elle choisit finalement d'apparaître en 1970 dans le film Tiger by the Tail de R. G. Springsteen où elle joue la fiancée d'un héros du Viêt Nam accusé du meurtre de son frère et qui mène l'enquête avec lui afin de trouver le vrai meurtrier. Puis, elle accepte le film Satan's Harvest (1970) de et avec George Montgomery pour la seule raison qu'il est tourné en Afrique^{[n 118]}^,^[74]. Montgomery joue le rôle de Cutter Murdock, un homme qui se rend sur le domaine africain dont il vient d'hériter. Il doit cependant faire face à des malfrats qui essayent de le faire partir pour continuer à faire pousser une drogue, la Satan's Harvest, sur son terrain.

Le tournage s'avère éprouvant comme lorsque l'équipe tourne une scène sur le bord du fleuve Limpopo et doit faire face à une famille de cobras^{[n 119]}^,^[75]. Cependant, c'est en faisant ce film que la vie d'Hedren prend un nouveau tournant. Sa « rencontre » avec un lion lui fait immédiatement penser qu'il y a beaucoup à découvrir sur les grands félins^{[n 120]}^,^[76]. Lors d'une visite au parc national de Gorongosa, son mari et elle découvrent une maison abandonnée où habitent 30 lions avec leurs petits. C'est en les regardant dormir au bord des fenêtres, sur une balançoire ainsi que sur des rocking chairs que leur vient l'idée de tourner un film sur le sujet^{[n 121]}^,^[76].

Roar

Développement

Noel Marshall écrit alors entre 1969 et 1970 un scénario d'abord intitulé Lions, Lions and More Lions^{[n 122]}^,^[77] puis rebaptisé Roar et qui est aujourd'hui considéré comme le film le plus dangereux jamais fait. Croisement entre Les Oiseaux et Vivre libre^{[n 123]}^,^[78], Roar suit l'histoire de Madeleine (Hedren), une femme qui emmène ses enfants dans la jungle africaine pour aller voir son mari Hank (Marshall), un scientifique excentrique, et dont elle est depuis longtemps séparée. Hank, qui s'est toujours battu pour la défense d'espèces en danger, vit dans un ranch où, entouré de lions, tigres et panthères, il passe son temps à soigner les indigènes.

Pour les besoins du tournage qui prévoit neuf mois de prises de vues, l'équipe pense utiliser des animaux sauvages dressés à Hollywood^{[n 124]}^,^[79]. Cependant, après avoir lu le scénario où il faut gérer au moins 40 lions qui vivent dans la même maison, les dresseurs refusent expliquant que la situation est trop dangereuse à gérer à cause de l'instinct naturel des fauves à se battre. Ils leur suggèrent néanmoins d'utiliser leurs propres animaux pour faire le film^{[n 125]}^,^[80].

Hedren et Marshall récupèrent alors un petit lion sauvé par un médecin^{[n 126]}^,^[79]. Le couple commence à élever ces félins dans sa propriété de Sherman Oaks à Los Angeles qu'il récupère dans des cirques ou des zoos^{[n 127]}^,^[81]. Il passe plusieurs mois à voir grandir les lionceaux, une expérience merveilleuse et unique pour Hedren^{[n 128]}, et partage entièrement leurs vies jusqu'à dormir avec eux^{[n 129]}^,^[76]. Comme il est interdit d'élever ce genre d'animaux chez soi, le couple achète un ranch à Acton en Californie et recueille alors différents tigres, éléphants, pumas et guépards^{[n 130]}^,^[82].

Financement

Tippi Hedren dans *The Harrad Experiment*.

Afin de financer le film, Hedren et Marshall hypothèquent leurs biens, y compris leur ranch qui sert pour le tournage et vendent leur maison de Beverly Hills ainsi que plusieurs biens immobiliers^{[n 131]}^,^[78]. Leurs finances, à un moment si précaire, contraignent Hedren à mettre en gage ses bijoux^{[n 132]}^,^[83]. D'autre part, Noel Marshall produit L'Exorciste (1973) ainsi que deux films dans lesquels joue son épouse. Le premier, Mister Kingstreet's War (id.), tourné en 1970 juste après Satan's Harvest, se déroule en Afrique. Hedren y joue la directrice d'une réserve animalière aux côtés de John Saxon au moment où éclate la Seconde Guerre mondiale.

Dans le second, The Harrad Experiment, également sorti en 1973, elle interprète une enseignante d'un collège expérimental où tous les étudiants vivent ensemble. Adapté du roman éponyme de Robert Rimmer, souvent considéré comme obscène à cause de son contenu^{[n 133]}. Produit pour 400 000 dollars, le film, qui aborde les thèmes de la possession, de la jalousie et du mariage, ne l'est pas selon Hedren. Elle y voit plutôt un film qui peut être instructif pour les adolescents^{[n 134]}^,^[84]. Lors de sa sortie, le film reçoit des critiques mitigées. Certains le comparent à un « soap opéra^{[n 135]}^,^[85] » tandis que d'autres reprochent la promotion fautive, digne d'une œuvre pornographique, détournant, selon eux, de potentiels spectateurs d'un film intéressant^{[n 136]}^,^[86].

Tournage

Le tournage de Roar commence en 1974 et se fait en famille. En effet, les fils de Noel Marshall, Jerry (également monteur) et John, jouent ses enfants dans le film. Son autre fils, Joel, travaille comme directeur artistique et sa fille Mona tient le poste d'assistant réalisateur. Melanie Griffith, devenue actrice, joue la fille du couple^{[n 137]}^,^[78]. Les problèmes surviennent dès le départ.

Le film est tourné de la même manière qu'un documentaire. Chaque scène impliquant des animaux sauvages est improvisée et tournée avec au moins quatre caméras, parfois huit^{[n 138]}^,^[87]. De plus, aucun des lions, tigres, léopards et pumas n'est dressé^{[n 139]}^,^[87].

Les membres de l'équipe sont blessés à plusieurs reprises. Hedren se fracture une jambe après être tombée d'un éléphant^{[n 140]}^,^[88]. Elle est ensuite mordue à l'arrière de la tête par une lionne et reçoit 38 points de suture lors d'une intervention chirurgicale à plaie ouverte^{[n 141]}^,^[89]. Melanie Griffith est elle aussi mordue à la tête par un lion et reçoit 50 points de suture au visage^{[n 142]}^,^[89], tout comme le directeur de la photographie, Jan de Bont, qui lui en reçoit 120 pour recoudre son cuir chevelu^{[n 143]}^,^[89]. Noel Marshall est, quant à lui, blessé à la main lorsqu'il essaye de séparer deux lions qui commencent à se battre. Hedren se trouve en Argentine où elle tourne en parallèle un film intitulé Allá donde muere el viento lorsqu'elle apprend la nouvelle^{[n 144]}^,^[90].

Le tournage est arrêté provisoirement en 1978 après qu'une inondation, à la suite de la rupture d'un barrage, tue plusieurs lions et détruit les décors. Les dégâts coûtent 4 millions de dollars à la production^{[n 145]}^,^[89]. Puis, en 1979, un incendie menace le ranch et les animaux doivent être évacués^{[n 146]}^,^[89].

Hedren et Marshall sont si sûrs du succès de Roar qu'ils restent déterminés à le finir et achèvent finalement le tournage en 1980, soit cinq années après les premières prises de vues^{[n 147]}^,^[91].

Sortie

Roar sort en 1981 partout dans le monde à l'exception des États-Unis. Les distributeurs américains refusent que les lions du film bénéficient d'un quelconque profit^{[n 148]}^,^[80]. Hedren refuse de céder et le film ne rapporte que 2 millions de dollars alors qu'il en a coûté 17 millions, ce qui en fait l'un des plus gros échecs commerciaux du cinéma^[92].

Variety décrit Roar comme le plus grand « désastre de l'histoire d'Hollywood, » malgré les intentions « nobles » de Marshall et d'Hedren^{[n 149]}^,^[93]. Cette dernière publie en 1985 un livre coécrit avec Theodore Taylor, The Cats of Shambala et dans lequel elle raconte cette expérience qu'elle qualifie d'« obsession^{[n 150]}^,^[91]. » En ce qui concerne les erreurs de jugement qui ont conduit à l'échec du film, Hedren admet qu'elle « ne pouvait pas voir au-delà de nos propres espoirs et égos^{[n 151]}^,^[94]. »

Des années 1980 à aujourd'hui

Années 1980 et 1990

Après Roar, Tippi Hedren joue aux côtés de Leslie Nielsen dans le film Foxfire Light (1982) puis apparaît épisodiquement à la télévision dans des séries telles que Pour l'amour du risque (1983) ou Histoires de l'autre monde (1984). En 1985, elle fait une brève apparition, le temps d'une scène qu'elle partage avec sa fille Melanie, dans l'un des épisodes du pilote de Alfred Hitchcock présente, créée d'après la série homonyme d'Hitchcock. La même année, alors qu'elle fait la promotion de son livre, The Cats of Shambala, elle explique que plus elle s'implique dans la cause animale, plus sa carrière d'actrice est sur la pente descendante^{[n 152]}^,^[95].

À partir des années 1990, Tippi Hedren apparaît de manière plus prolifique au cinéma et à la télévision dans des productions qui rendent parfois hommage au cinéma d'Hitchcock ou à son travail avec elle. Dans In the cold of the night (1990), elle joue une femme effrayée par les oiseaux^{[n 153]}^,^[96] et en 1991, elle fait une apparition dans le téléfilm Shadow of a Doubt, remake de L'Ombre d'un doute (1943) de Hitchcock. Elle participe également à la série La Vie à tout prix (1998). L'épisode, tourné en noir et blanc et intitulé Psychodrama (Un oiseau aux trousses en français), fait référence aux films les plus connus du cinéaste dont Sueurs froides, Psychose, Fenêtre sur cour ainsi que Les Oiseaux et Marnie^{[n 154]}^,^[97]. Le nom du personnage d'Hedren, Alfreda Perkins, est un dérivé entre le prénom d'Hitchcock et le nom de l'acteur principal de Psychose, Anthony Perkins^{[n 155]}^,^[98].

Universal lui propose ensuite de jouer dans la suite des Oiseaux mais dans un rôle différent. Réalisé par Rick Rosenthal, le téléfilm Les Oiseaux 2 (1994) narre l'histoire d'un couple, joués par Brad Johnson et Chelsea Field, qui vient passer ses vacances sur Gull Island. Dès leur arrivée, le personnage de Johnson remarque les nombreux oiseaux qui habitent sur l'île et prend conscience du danger lorsqu'il se fait attaquer par un goéland. Hedren joue Helen, la propriétaire d'un commerce, elle-même préoccupée par les oiseaux et par tout ce qui se passe dans le monde sur le plan écologique^{[n 156]}^,^[99]. Contrairement au premier film, Les Oiseaux 2 explique les attaques des oiseaux et tente de démontrer que l'homme en est responsable à cause de sa destruction de la planète^{[n 157]}^,^[99]. Avant la diffusion du film sur la chaîne Showtime, Hedren accorde une interview à l'émission Entertainment Tonight et fait part de son mécontentement à propos de cette suite. Elle regrette de ne pas être l'actrice principale et avoue ne pas oser penser à ce qu'Hitchcock dirait du résultat^{[n 158]}^,^[100]. Les Oiseaux 2 reçoit en majorité des critiques négatives. Ken Tucker de Entertainment Weekly déplore le jeu des acteurs qui « n'ont que très peu à faire à part élargir les yeux dans les moments de terreur^{[n 159]} » et donne raison à Rosenthal pour avoir choisi d'être crédité sous le pseudonyme réservé aux réalisateurs mécontents de leur film, Alan Smithee^{[n 160]}^,^[101]. James Endrst, du Hartford Courant, explique que le scénario est prévisible, sans aucun moment de suspense et écrit que l'idée d'une nouvelle suite l'ennuie encore plus^{[n 161]}^,^[102]. Lynn Hoogenboom, du Lawrence Journal-World, est plus enthousiaste, ravie que les attaques d'oiseaux soient expliquées et trouve le film plutôt bon, même s'il est, selon elle, « impossible de ne pas le comparer à l'original^{[n 162]}^,^[103]. »

Bien qu'elle ne comprenne pas pourquoi elle ne reçoit pas plus de propositions de film^{[n 163]}^,^[104], Hedren se dit heureuse de pouvoir jouer dans plusieurs genres différents^{[n 164]}^,^[105]. En 1994, le réalisateur John Landis lui propose de jouer dans la série Dream On. Elle apparaît alors dans cinq épisodes entre 1994 et 1996, ravie de pouvoir faire pour la première fois de la comédie^{[n 165]}^,^[106]. Elle est dirigée dans un film du même genre, Citizen Ruth (1996), dont le sujet principal est l'avortement, par Alexander Payne et dans lequel elle donne la réplique à Laura Dern. En 1998, elle joue dans I Woke Up Early the Day I Died, mis en scène d'après un scénario d'Ed Wood, qualifié de « plus mauvais cinéaste de l'histoire du cinéma ». Ce film, qu'elle considère comme « incroyable » et très drôle à faire^{[n 166]}^,^[107], a la particularité d'être sans dialogue. Hedren est également présente aux génériques de séries télévisées le temps d'un épisode comme dans Amour, Gloire et Beauté (1990), Perry Mason (1993) et Arabesque (1994) où elle joue face à Mickey Rooney et Angela Lansbury qu'elle décrit comme la femme la plus charmante qu'elle ait rencontrée^{[n 167]}^,^[108]. Elle participe aussi à plusieurs courts-métrages dont elle apprécie beaucoup les scénarios^{[n 168]}^,^[105].

Des années 2000 à aujourd'hui

Hedren continue, tout au long des années 2000, à prendre plaisir à jouer dans divers projets^{[n 169]}^,^[107]. En 2004, elle tient l'un des rôles secondaires du film J'adore Huckabees avec, entre autres, Dustin Hoffman, Lily Tomlin, Isabelle Huppert, Jude Law, Mark Wahlberg et Naomi Watts. Le réalisateur, David O. Russell, est réputé pour son comportement violent sur les tournages^{[n 170]}^,^[109] et des vidéos de ses altercations avec Tomlin sont diffusées sur Internet^{[n 171]}^,^[110]. Hedren parvient à bien travailler avec lui mais se demande constamment comment va s'effectuer le montage^{[n 172]}^,^[111]. Elle pense que ce film « étrange » est, d'une certaine manière, réussi^{[n 173]}^,^[112]. L'année suivante sort un film indépendant intitulé Diamond Zero. Après avoir lu le scénario qu'elle pense être complètement décalé, Hedren accepte immédiatement. Elle joue une femme « diabolique, » intéressée par une machine qui rend possible la fabrication de diamants avec les cendres d'un homme^{[n 174]}^,^[107].

En 2006, les producteurs de la série Les 4400 doivent faire face au départ de l'une de leurs actrices principales, Laura Allen, au début du tournage de la troisième saison^{[n 175]}. Le scénario est alors réécrit et son personnage est vieilli de 50 ans^{[n 176]}^,^[113]. Hedren se voit alors offrir le rôle d'Allen pour le premier épisode et, avant de se rendre à Vancouver pour le tournage, regarde tous les précédents épisodes^{[n 177]}. Elle partage plusieurs scènes avec l'acteur Mahershala Ali dont elle admire énormément le jeu^{[n 178]}^,^[114]. La même année, elle joue le rôle d'une mère et grand-mère dans le feuilleton Fashion House avec Bo Derek puis fait une apparition dans la série Les Experts (2008) et prête sa voix au personnage de la mère de Wonder Woman dans Batman : L'Alliance des héros (id.)^{[n 179]}^,^[115].

En 2012, elle tourne dans le film de Billy Bob Thornton, Jayne Mansfield's Car, aux côtés de Kevin Bacon, Robert Duvall et John Hurt. Elle apprécie le tournage avec Thornton ainsi que sa technique de ne pas faire de répétitions^{[n 180]}^,^[116]. Néanmoins, la version finale du film ne montre que le derrière de sa tête dans un cercueil^{[n 181]}^,^[117]. Toujours en 2012, Hedren est au générique du premier épisode de la troisième saison de Raising Hope, aux côtés de sa fille Melanie. Le scénario la fait rire aux larmes^{[n 182]}^,^[118]. Elle joue le rôle d'une morte qui laisse un message vidéo et dont le personnage de Cloris Leachman enlève la robe alors qu'elle se trouve déjà dans son cercueil^{[n 183]}^,^[119]. La même année, elle participe en tant que conseillère sur le film The Girl qui traite de sa relation avec Alfred Hitchcock. Un autre film sur la vie de ce dernier, intitulé Hitchcock, sort en 2012. Hedren, à la demande de l'acteur Anthony Hopkins qui prête ses traits au réalisateur, est invitée à venir voir le tournage^{[n 184]}^,^[106].

En 2013, la série Cougar Town lui consacre le dernier épisode de sa quatrième saison intitulé Have Love Will Travel. Hedren y joue son propre rôle. L'héroïne de la série, Jules Cobbs, jouée par Courteney Cox, met tout en œuvre pour qu'Hedren rencontre son père dont elle est l'actrice fétiche.

L'actrice vue par elle-même, ses collaborateurs et la critique

Au début des années 1960, Tippi Hedren est formée par Alfred Hitchcock pour devenir comédienne. Le réalisateur lui apprend comment rentrer dans la peau d'un personnage. Pour cela, Hedren lit plusieurs fois le scénario. Pour elle, ce qui est le plus important sont les relations avec les autres personnages et ce que son propre rôle en fait^{[n 185]}^,^[120]. Elle estime qu'il faut absolument connaître le script et préparer sa performance avant de tourner. C'est ainsi qu'elle sait comment elle va jouer tout au long du film et rejoint Hitchcock lorsqu'il pense qu'un film est terminé dès le premier jour d'un tournage^{[n 185]}^,^[120]. Hedren se déclare fière de sa performance dans Les Oiseaux mais avoue préférer Marnie pour la complexité du personnage^{[n 186]}^,^[3].

Ses collaborateurs et les critiques sont néanmoins partagés lors de la sortie des deux films. Pour Les Oiseaux, elle est jugée remarquable par les personnes associées au film bien qu'Evan Hunter regrette le manque d'alchimie qu'il y a entre Rod Taylor et elle^{[n 187]}^,^[121]. Quant à la critique, Arthur Knight du Saturday Review reconnaît que la nouvelle découverte d'Hitchcock est « incontestablement une jolie blonde^{[n 188]}^,^[29]. » Certains lui reprochent cependant de jouer d'une manière stylisée, un peu comme un mannequin^{[n 189]}^,^[28].

Hedren considère *Marnie* comme son meilleur rôle tandis que son partenaire Sean Connery pense qu'elle est l'une des actrices les plus sous-estimées à Hollywood.

Pour Marnie, la plupart des critiques émettent des doutes sur ses capacités d'actrice^{[n 190]}^,^[55]. Aux États-Unis, Eugene Archer du New York Times la décrit comme séduisante et prometteuse, tout comme son partenaire Sean Connery, mais déplore leur inexpérience^{[n 191]}^,^[56]. Elle est convaincante pour Variety bien qu'Hitchcock « ne permet rarement d'elle un changement de rythme qui aurait rendu son personnage plus intéressant^{[n 192]}^,^[122]. » En France, les avis sont également divergents^[58]. Elle n'est qu'une « blonde fadasse et placide » pour Les Lettres Françaises et responsable de l'échec du film d'après Le Monde et Arts la décrit comme une « fausse Kim Novak. » Télérama est séduit par cette « interprète sublime de Marnie » et la compare à Ingrid Bergman, « c’est-à-dire une actrice dont le moindre regard, le moindre frémissement des lèvres prouve, s’il en était besoin, l’existence de l’âme. » Libération est également impressionnée par Hedren, « tout à fait impressionnante de vérité. » La scénariste de Marnie, Jay Presson Allen, partage l'avis de ceux qui pense qu'elle n'est pas la personne idéale pour le rôle. Allen ajoute que l'interprétation d'Hedren est efficace^{[n 193]}^,^[123] malgré les lacunes de son scénario qui ne l'ont pas aidée à être vulnérable^{[n 194]}^,^[124]. Le compositeur attitré d'Hitchcock, Bernard Herrmann, est plus dubitatif. D'après lui, il s'agit d'une actrice sans talent qui exploite l'engouement évident d'Hitchcock pour elle^{[n 195]}^,^[125].

Aujourd'hui, les interprétations d'Hedren dans Les Oiseaux et Marnie sont reconnues et appréciées par la critique. L'écrivaine Camille Paglia, professeure de sciences humaines à l'université d'arts de Philadelphie, également autrice d'une analyse sur Les Oiseaux trouve injuste qu'Hedren n'ait jamais obtenu la reconnaissance méritée pour son travail avec Hitchcock :

« Je pense que la raison pour laquelle les critiques ne l'ont pas prise au sérieux est qu'elle est trop à la mode et par conséquent pas « sérieuse. » L'interaction entre Hedren et [Suzanne] Pleshette dans Les Oiseaux m'en dit plus sur les femmes que n'importe quel article sur la théorie féministe. Hitchcock saisit les subtilités de femmes en conflit les unes avec les autres. (...) Il sculpte le corps humain dans l'espace. Et j'aime la façon dont Hedren, avec un tel raffinement, tient une cigarette et un verre de martini^{[n 196]}^,^[29]. »

Sa performance dans Pas de printemps pour Marnie est considérée comme l'une des meilleures dans un film d'Hitchcock^{[n 197]}^,^[55]. Le documentariste et écrivain Laurent Bouzereau la définit comme « extraordinaire » et l'une des actrices hollywoodiennes les plus sous-estimées^{[n 198]}^,^[126], avis partagé par Sean Connery^{[n 199]}^,^[3].

Parmi ses films suivants, Hedren continue à diviser. Pour son petit rôle dans La Comtesse de Hong Kong, le New York Times fait référence à sa peau « pitoyablement cireuse^{[n 200]}^,^[70] » alors que Variety la trouve « superbe^{[n 201]}^,^[71]. » En 1973, lors de la sortie de The Harrad Experiment, elle échoue finalement à devenir la nouvelle Grace Kelly d'après The Calgary Herald^{[n 202]} avec une performance jugée aussi « lumineuse qu'une ampoule 25 Watts^{[n 203]}^,^[127]. » En 1994, son apparition dans Les Oiseaux 2 n'est qu'une distraction pour The Hartford Courant^{[n 204]}^,^[102].

Lorsqu'elle fait le bilan de sa carrière, Hedren considère qu'elle est à la fois comme « magnifique et merveilleuse » mais également « très décevante » :

« C'est, au mieux, une carrière très difficile. Vous êtes toujours à la recherche d'un emploi. On parle de vous comme si vous étiez un morceau de viande. C'est vraiment difficile comme il est aussi merveilleux d'être une actrice. C'est à double tranchant^{[n 205]}^,^[79]. »

Elle déclare ne plus prendre au sérieux ce qu'elle fait en tant qu'actrice comme elle en avait l'habitude par le passé et aime simplement s'amuser^{[n 206]}^,^[107].

Popularité

En tant qu'actrice, Tippi Hedren est principalement connue pour ses interprétations dans Les Oiseaux et Pas de printemps pour Marnie, qui lui ont permis d'entrer dans la légende cinématographique.

De nombreuses actrices, parmi lesquelles Jodie Foster et Naomi Watts, la citent comme source d'inspiration^{[n 207]}^,^[128]. En 2008, Foster et Watts sont, par ailleurs, photographiées par le magazine Vanity Fair en reprenant respectivement des poses des rôles des Oiseaux^[129] et de Marnie^[130]. Watts, qui se déclare fascinée par Hedren^{[n 208]}^,^[131] qu'elle considère comme « merveilleuse^{[n 209]}^,^[132], » s'inspire de ces deux films pour son rôle dans le film Mulholland Drive (2002) de David Lynch^{[n 210]}^,^[133]. Les deux femmes se rencontrent sur le tournage de J'adore Huckabees (2004) mais ne jouent pas de scènes ensemble.

Son interprétation de Marnie est la plus appréciée parmi les actrices. En effet, Bridget Fonda lui confie lorsqu'elle tourne le film Point de rupture (1998) avoir vu le film « un million de fois^{[n 211]}^,^[3]. » D'autre part, Catherine Deneuve déclare dans plusieurs interviews que c'est un rôle qu'elle aurait beaucoup aimé jouer bien qu'elle ne pense pas qu'elle aurait été meilleure qu'Hedren^{[n 212]}^,^[134].

Vie privée

Vie familiale

Tippi Hedren épouse en 1952 le publicitaire Peter Griffith. Ensemble, ils ont une fille : Melanie Griffith, née le 9 août 1957. Ils divorcent en 1961. Tippi Hedren est donc la grand-mère de Dakota Johnson (dont le père est l'acteur Don Johnson) et de Stella del Carmen Banderas (dont le père est l'acteur Antonio Banderas).

En 1964, après le tournage de Marnie, elle se marie avec son agent, Noel Marshall. Ils divorcent en 1982 après 19 ans de mariage, notamment à cause du tempérament violent de Marshall^{[n 213]}^,^[135]. Néanmoins, ce dernier continue de soutenir financièrement la réserve animalière d'Hedren^{[n 214]}^,^[95].

En 1985, elle épouse Luis Barrenecha, un homme d'affaires dont elle divorce dix ans plus tard. Elle est aujourd'hui fiancée à son vétérinaire, le docteur Martin Dinnes.

Hedren se déclare être une femme indépendante et estime que le mariage est un choix individuel qui n'est pas fait pour elle^{[n 215]}^,^[128].

Relations avec Alfred Hitchcock

Après le tournage de Marnie, Tippi Hedren se sent embarrassée et insultée par ce qu'elle a vécu avec Alfred Hitchcock. Elle préfère ne rien dire à personne de peur que cela soit mis à profit et déformé^{[n 216]}^,^[19]. Sa fille, Melanie Griffith, apprend ce que sa mère a réellement vécu en 2012 lorsqu'elle découvre le film biographique qui lui est consacré, The Girl^{[n 217]}^,^[136].

En 1973, lorsqu'Hedren est interrogée sur le sujet, elle répond qu'il était trop possessif et trop exigeant alors qu'elle ne peut être contrôlée par personne^{[n 218]}^,^[8]. En 1979, elle admet avoir été dans une impasse avec lui et explique que cette situation « impossible » l'a poussée à reprendre son contrat^{[n 219]}^,^[137]. Lorsqu'elle apprend la mort d'Hitchcock, le 29 avril 1980, elle ressent « presque un sentiment de soulagement^{[n 220]}^,^[138]. » La secrétaire particulière d'Hitchcock, Peggy Robertson, avec qui Hedren reste amie, lui fait alors la confession que le réalisateur ne s'est jamais remis de sa relation avec elle^{[n 221]}^,^[16]. Elle continue cependant à admirer l'homme comme réalisateur et se rend à ses funérailles^{[n 222]}^,^[139].

C'est à l'écrivain Donald Spoto, auteur d'une première biographie sur le cinéaste, L'art d'Alfred Hitchcock (publié en 1978), qu'elle fait ses premières révélations^{[n 223]}^,^[19]. Elle explique le tournage de la scène du grenier des Oiseaux et les avances répétées d'Hitchcock mais refuse, par décence, de rapporter les termes exacts des demandes du réalisateur. Spoto consacre le chapitre 13 de son livre, La face cachée d'un génie - La vraie vie d'Alfred Hitchcock, à leurs rapports^{[n 224]}^,^[19]. Publié en 1983, sa biographie est sujette à controverses mais Hedren affirme qu'il est honnête à propos de son histoire^{[n 225]}^,^[19]. Après la parution du livre, elle reste néanmoins mal à l'aise pour aborder le sujet lors d'entrevues et préfère renvoyer les journalistes à ce qu'a écrit Spoto^{[n 226]}^,^[108].

Au fur et à mesure que le temps passe, elle accepte d'en parler et dans une interview pour The Guardian en 1999, elle explique qu'il voulait la changer complètement et aborde même les propositions sexuelles qu'il lui faisait :

« C'était très, très difficile pour moi. J'étais une jeune femme, je n'étais pas mariée. Il voulait que je lui sois redevable d'avoir fait de moi une star. Oui, il était sexuellement obsédé par moi. C'était horrible, mais que pouvais-je faire? Il n'y a aucun doute à ce sujet, Hitch avait une attitude très bizarre envers les femmes, peut-être à cause de son enfance très étrange^{[n 227]}^,^[18]. »

En 2008, Donald Spoto publie un troisième livre sur Hitchcock : Spellbound by Beauty: Alfred Hitchcock and His Leading Ladies. Hedren y fait de nouvelles révélations comme lorsqu'elle parle du jour où Hitchcock a essayé de l'embrasser à l'arrière d'une voiture et celui où il lui a demandé d'être disponible pour lui quand il le voudrait.

Elle dit avoir eu de la chance d'avoir pu travailler avec lui mais n'a jamais pensé répondre d'une manière positive à ses avances^{[n 228]}^,^[139]. Elle déclare n'avoir aucun regret d'avoir rompu son contrat, consciente de s'être sauvée même si elle aurait aimé faire les autres films qu'Hitchcock a refusés pour elle^{[n 229]}^,^[14]. Elle pense que le réalisateur était misogyne, avec de nombreux problèmes^{[n 230]}^,^[139]. Selon elle, Hitchcock se pensait comme un homme beau et romantique, tel Cary Grant, et elle estime qu'il devait être difficile pour lui de se voir dans une glace^{[n 231]}^,^[139]. Elle le juge physiquement très peu attirant^{[n 232]}^,^[139] mais le voit également comme une personne très triste :

« On parle d’un esprit brillant, qui était d’un génie hors du commun, maléfique, et déviant, au point d’en être dangereux, parce qu’il pouvait avoir un effet imprévisible sur certaines personnes^{[n 233]}^,^[16]. »

Film biographique : The Girl

L'actrice Sienna Miller joue le rôle de Tippi Hedren dans le film biographique qui lui est consacré, *The Girl*.

Pendant l'écriture de Spellbound by Beauty, Spoto est contacté par la productrice Leanne Klein qui, à la recherche d'un projet biographique sur Hitchcock, souhaite lui parler de la relation du réalisateur avec sa dernière muse^{[n 234]}. Ami d'Hedren, Spoto facilite le contact avec la production et lui assure que son histoire peut être racontée correctement^{[n 235]}^,^[140]. Elle accepte, bien qu'effrayée à l'idée de voir un film fait sur sa vie^{[n 236]}^,^[141], et la scénariste Gwyneth Hughes est engagée pour écrire le script intitulé The Girl. Pour cela, elle rencontre Hedren à plusieurs reprises ainsi que plusieurs personnes associées aux Oiseaux et à Marnie : Rita Riggs, Diane Baker et en particulier l'assistant réalisateur d'Hitchcock, Jim Brown, qui lui accorde son unique interview^{[n 237]}^,^[140]. Brown confirme les déclarations d'Hedren et confie à Hughes se sentir coupable de ne pas l'avoir assez protégée contre Hitchcock^{[n 238]}^,^[142]. Par ailleurs, la famille de ce dernier ne s'oppose pas au projet^{[n 239]}^,^[143].

Julian Jarrold est engagé pour réaliser le film pour HBO Films et la BBC. Toby Jones et Sienna Miller interprètent respectivement Hitchcock et Hedren. Les deux femmes se rencontrent à plusieurs reprises. Hedren tient à expliquer à Miller son parcours et lui demande de la jouer telle qu'elle était, c'est-à-dire une femme forte^{[n 240]}^,^[141]. Jarrold, quant à lui, ne souhaite pas avoir d'entretien avec elle, ce qui offense Hedren^{[n 241]}^,^[141]. Le tournage se déroule en Afrique du Sud et dure 28 jours. Miller reste en contact permanent avec Hedren et l'informe être ennuyée à l'idée que le réalisateur veuille qu'elle joue une femme moins forte qu'elle ne l'était à cette époque^{[n 242]}^,^[141]. Hedren avoue alors avoir de l'appréhension à voir le film^{[n 243]}^,^[141].

Lorsqu'elle le découvre, Hedren est très satisfaite du résultat et, bien qu'elle apprécie le travail de toute l'équipe^{[n 244]}^,^[140], elle se dit impressionnée par le jeu de Toby Jones et plus particulièrement de son changement de voix^{[n 245]}^,^[144]. Quant à Miller, elle trouve son interprétation magnifique et pense qu'elle n'aurait pu choisir une meilleure actrice pour jouer son rôle^{[n 246]}^,^[59]. Elle regrette cependant que le film ne montre que les moments sombres qu'elle a vécus avec Hitchcock mais comprend qu'il n'était pas possible en une heure et demie de montrer plus de choses^{[n 247]}^,^[144]. Elle déclare également qu'elle espère que les jeunes femmes comprennent en voyant le film qu'elles peuvent refuser lorsqu'elles sont dans ce genre de situation^{[n 248]}^,^[144].

Polémique

Dès sa sortie, The Girl suscite la controverse auprès de certains collaborateurs d'Alfred Hitchcock qui prennent sa défense dans la presse.

Nora Brown, la veuve de l'assistant réalisateur du cinéaste, Jim Brown, fait part de son mépris du film et se déclare sûre que son mari n'aurait pas approuvé les allégations de harcèlement sexuel. D'après elle, il aurait accepté de parler à la scénariste, Gwyneth Hughes, croyant que le film serait un portrait affectueux d'Hitchcock^{[n 249]}^,^[145]. La productrice exécutive du film, Leanne Klein, déclare alors regretter que Nora Brown soit furieuse contre le film sans l'avoir vu^{[n 250]}^,^[145]. Néanmoins, d'après des entrevues enregistrées de Jim Brown, ce dernier estime que certaines choses dites sur le cinéaste sont « très exagérées » et ajoute qu'Hitchcock était contrarié lorsqu'il s'est rendu compte qu'Hedren n'avait pas l'aura de star qu'il avait d'abord vue en elle^{[n 251]}^,^[146].

L'assistant réalisateur de Marnie, Hilton Green, quant à lui, ne se souvient pas d'un quelconque malentendu entre Hedren et Hitchcock : « Marnie était un rôle très pénible à jouer pour Tippi. Hitchcock aimait tester ses acteurs, il était très bon à ça et il lui a donné beaucoup d'indications parce qu'elle en avait besoin^{[n 252]}^,^[146]. » Certaines accusations sont difficiles à croire pour l'une des actrices du film, Louise Latham, qui estime qu'Hedren n'aurait pas dû parler de cette manière à propos du réalisateur. Comme Green, Latham avoue ne pas être au courant du harcèlement qu'elle subissait sur le plateau^{[n 253]}^,^[146].

D'autres actrices ayant travaillé pour Hitchcock le défendent dans différentes interviews. Kim Novak, qui tient le rôle principal de son film Sueurs froides (1958), ne peut croire qu'il était l'homme que dépeint Hedren, par ailleurs l'une de ses amies proches. « Je ne peux pas l'imaginer. Il n'a jamais eu ce genre de comportement. Si ça a existé, cela s'est passé uniquement avec Tippi parce que je n'ai jamais connu ça. C'était un vrai gentleman et, dans un sens, un homme plutôt timide^[147]. » Novak déplore également le fait qu'il ne soit plus là pour se défendre lui-même^{[n 254]}^,^[148]. Veronica Cartwright, partenaire de Hedren dans Les Oiseaux, juge que l'histoire s'exagère au fil des années. Elle pense également qu'Hedren est convaincue à tort que le réalisateur a détruit sa carrière : « Je ne pense pas qu'elle était si bien que cela dans Marnie. Tippi était un coup d'œil. Celle qui est fabuleuse dans le film (Les Oiseaux), c'est Jessica Tandy^{[n 255]}^,^[146]. »

Dans ses mémoires Tippi: A Memoir parus le 17 novembre 2016, Tippi Hedren va plus loin et affirme avoir été victime d'attouchements de la part du célèbre cinéaste lors du tournage du film Pas de printemps pour Marnie^[149]. Les proches du réalisateur mettent fortement en doute la véracité de ses propos^[150].

Filmographie

Cinéma

1950 : La Scandaleuse Ingénue (The Pretty Girl) d'Henry Levin : Apparition (non créditée)
1963 : Les Oiseaux (The Birds) d'Alfred Hitchcock : Melanie Daniels
1964 : Pas de printemps pour Marnie (Marnie) d'Alfred Hitchcock : Marnie Edgar
1967 : La Comtesse de Hong-Kong (A Countess from Hong Kong) de Charles Chaplin : Martha Mears
1970 : Tiger By the Tail de R. G. Springsteen : Rita Armstrong
1970 : Satan's Harvest de George Montgomery : Marla Oaks
1973 : Mister Kingstreet's War de Percival Rubens : Maggie Kingstreet
1973 : The Harrad Experiment de Ted Post : Margaret Tenhausen
1976 : Allá donde muere el viento de Fernando Siro
1981 : Roar de Noel Marshall : Madelaine
1982 : Foxfire Light d'Allen Baron : Elizabeth Morgan
1989 : Deadly Spygames de Jack M. Sell : Chastity
1990 : In the Cold of the Night de Nico Mastorakis : Clara
1990 : Fenêtre sur Pacifique (Pacific Heights) de John Schlesinger : Florence Peters
1994 : Teresa's Tattoo de Julie Cypher : Evelyn Hill
1994 : Inevitable Grace d'Alex Monty Canawati : D^r Marcia Stevens
1996 : Citizen Ruth d'Alexander Payne : Jessica Weiss
1997 : Mulligans ! (court métrage) de Miles Hood Swarthout : Dottie
1998 : Exposé de Daphna Edwards
1998 : Point de rupture (Break Up) de Paul Marcus : Mère
1998 : I Woke Up Early the Day I Died d'Aris Iliopulos : Maylinda Austed
1999 : The Storytellers de James D.R. Hickox : Lillian Glosner
2001 : Ice Cream Sundae (court métrage) de Désirée Nosbusch : Lady
2001 : Tea with Grandma (court métrage) de Jonathan Fahn : Rae
2003 : Julie and Jack de James Nguyen : Julie McNeal
2003 : Searching for Haizmann de Scott Gordon et Ron Meyer : D^r Michelle Labner
2003 : Dark Wolf (sortie directement en vidéo) de Richard Friedman : Mary
2003 : Rose's Garden de Shawna Baca et Craig Nisker : Rose
2004 : Raising Genius de Linda Voorhees et Bess Wiley : Babe
2004 : Mind Rage de Mark Allen Michaels : D^r Wilma Randolph
2004 : J'adore Huckabees (I Heart Huckabees) de David O. Russell : Mary Jane Hutchinson
2005 : Diamond Zero de David Gaz et Annelie Wilder : Eleanor Kelly
2005 : Strike the Tent d'A. Blaine Miller et Julian Adams : M^me Adams
2008 : Secrets de jeunesse (Dead Write) de Michael Connell : Minnie
2008 : They Boneyard Collection d'Edward L. Plumb : Tante Gloria (Segment Her Morbid Desires)
2012 : Jayne Mansfield's Car de Billy Bob Thornton : Naomi Caldwell
2012 : Free Samples de Jay Gammill : Betty
2012 : Return to Babylon d'Alex Monty Canawati : M^me Peabody
2014 : The Ghost and the Whale (En tournage) d'Anthony Gaudioso et James Gaudioso : Tippi

Télévision

1965 : Haute Tension (Kraft Suspense Theatre, série, S2e28: Les Trains du silence) : Lee Anne Wickheimer
1965 : Match contre la vie (Run for Your Life, série, S1e3: Someone Who Makes Me Feel Beautiful) : Jessica Braden
1970-1971 : The Courtship of Eddie's Father (Série, S1e24: Free Is a Four Letter Word, 1970 ; S2e4: A Little Get Together for Cissy, 1971) : Cissy Drummond-Randolph
1973 : Docteur Caraïbes (Feuilleton, 4^e épisode: L'homme à l'Albatros) : Sonia
1976 : Super Jaimie (The Bionic Woman, série, S1e5: Les griffes) : Susan Victor
1983 : Pour l'amour du risque (Hart to Hart, série, S4e11: Les Chasses de Monsieur Davenport) : Liza Atterton
1984 : Histoires de l'autre monde (Tales from the Darkside, série, S1e5: Mookie and Pookie) : Ruth Anderson
1985 : Alfred Hitchcock présente (Alfred Hitchcock Presents, série, Pilote 4^e épisode: Man from the South) : Une serveuse
1988 : Hôtel (Hotel, série, S5e12: Double Take) : Barbara Lyman
1988 : Baby Boom (Série, S1e7: Christmas '88) : Laura Curtis
1990 : Return to Green Acres (Téléfilm) de William Asher : Arleen
1990 : Amour, Gloire et Beauté (The Bold and the Beautiful, série, S1e896) : Helen Maclaine
1991 : Shadow of a Doubt (Téléfilm) de Karen Arthur : M^me Mathewson
1991 : Dans la chaleur de la nuit (Série, S5e4: Liar's Poker) : Annabelle Van Buren
1992 : Piège à domicile (Through the Eyes of a Killer, téléfilm) de Peter Markle : M^me Bellano
1993 : Perry Mason (Troisième série, 24^e épisode: La formule magique) : Beverly Courtney
1994 : Arabesque (Murder, She Wrote, série, S10e6: Le faux-semblant) : Catherine Noble
1994 : Les Oiseaux 2 (The Birds II: Land's End, téléfilm) de Rick Rosenthal : Helen
1994 : Les armes de la passion (Treacherous Beauties, téléfilm) de Charles Jarrott : Lettie Hollister
1994-1996 : Dream On (Série, S5e12: Crise de foi, 1994 ; S6e11: La Petite sœur, 1995 ; S6e18: La Seconde chance, 1996 ; S6e21: Nos plus belles années, 1996 ; S6e27: Finale - 2^e partie, 1996) : Di
1997 : The Guardian (Téléfilm) de Rob Cohen : Wynn
1997 : Adventures from the Book of Virtues (Série, S2e3: Generosity) : Madame Sofroni/Molly Mouse (voix)
1998 : La Vie à tout prix (Chicago Hope, série, S4e14: Un oiseau aux trousses) : Alfreda Perkins
1998 : Batman (Deuxième série, Les Nouvelles Aventures de Batman, 9^e épisode: La Fille du calendrier) : Donna Day (voix)
1998 : Invasion America (Série) : M^me McAllister
1998 : Arliss (Arli$$, série, S3e9: Stanley Babson...Win, Place, or Show)
1999 : Fenêtre sur meurtre (The Darklings, téléfilm) de Jeffrey Reiner : Martha Jackson
1999 : S'il suffisait d'aimer (Replacing Dad, téléfilm) de Joyce Chopra : Dixie
2000 : Bull (Série, S1e20: A Beautiful Life) : Caitlin Coyle
2000 : Hollywood Off-Ramp (Série, S1e2: Simple Simon)
2000 : Providence (Série, S3e5: Une femme à la mer ; S3e6: Un thanksgiving inattendu) : Constance Hemming
2001 : Aux portes du cauchemar (The Nightmare Room, série, S1e5: La Vie en jeu) : La sorcière
2003 : 111 Gramercy Park (téléfilm) de Bill D'Elia : M^me Granville
2006 : Les 4400 (The 4400, série, S3e1: Une nouvelle ère - 1^re partie ; S3e2: Une nouvelle ère - 2^e partie) : Lily Moore Tyler
2006 : Fashion House (Série, S1e1: It Takes One to Know One ; S1e6: The Best Laid Plans ; S1e16: Multiple Offers ; S1e19: Maternal Instincts ; S1e24: All in the Family ; S1e30: Coup de Grace ; S1e31: Irreconcilable Differences ; S1e35: Gaggle at the Gallery ; S1e44: Women on Verge ; S1e46: Opportunity Knocks, Rings the Doorbell and Beats Down Your Door! : Doris Thompson
2008 : Les Experts (CSI, série, S9e8: 8.Star de demain... et d'hier) : Karen Rosenthal
2008 : Hantée par le passé (Tribute, téléfilm) de Martha Coolidge : Aileen Hennessey
2008 : Batman : L'Alliance des héros (Batman: The Brave and the Bold, S3e8: Triumvirate of Terror!) : Queen Hippolyta (voix)
2012 : Raising Hope (Série, S3e1: Not Indecent, But Not Quite Decent Enough Proposal) : Nana
2013 : Cougar Town (Série, S4e15: Have Love Will Travel) : Tippi Hedren

Publications

(en) Avec Theodore Taylor, The Cats of Shambala, Simon & Schuster, 1985, 267 p.
Nouvelle édition révisée : Shambala Pr., 1991, 300 p. (ISBN 0-307-35130-0).
Tippi: A Memoir, autobiographie, 288 p., William Morrow, 2016

Récompenses

Elle remporte en 1964 le Golden Globe Award de la « meilleure révélation féminine » pour Les Oiseaux et, la même année, pour le même film et dans la même catégorie, le Golden Laurel.

Elle reçoit deux Life Achievement Award en 1994 et 1995 : le premier en France au festival de Beauvais Cinemalia et le second en Espagne de la Fondation Municipal de Cine.

Ses actions caritatives lui valent de nombreuses récompenses dont le prix Lions & Agneaux en 1997, le prix Woman of Vision en 1999, la médaille présidentielle pour l'ensemble de son travail de l'université Hofstra en 1999, ou encore le prix Jules Verne Nature en 2007^[151].

Les trois courts métrages qu'elle a tournés — Mulligans !, Tea with Grandma et Rose's Garden — lui font remporter respectivement le Method Fest de la « meilleure actrice dans un court métrage comique », en 2000, le prix de la « meilleure actrice » décerné par le New York International Independent Film Festival, en 2002, et le prix de la « meilleure actrice » du LA TV Short Film Festival.

Elle a son étoile sur le Hollywood Walk of Fame au 7060, Hollywood Blvd.

Notes et références

Notes

↑ (en)« “I lived in the little town of Lafayette. But Lafayette was so small it didn't have a hospital that I had to go to New Ulm to be born. But I never lived in New Ulm.” (Tippi Hedren) »
↑ (en)« Her store owner father, Bernard, was Swedish and her school teacher mother, Dorathea, was German-Norwegian. »
↑ (en)« Hedren credits her parents' Swedish-Lutheran background and Midwest upbringing in New Ulm, Minn., for giving her the strength to survive such an abusive relationship. “They gave me a good basis of moral standing of what's right and wrong -- and you don't let the wrong happen,” she said. “Those things have served me well. I fear very little. That film made me think more of my upbringing and the strength that I got.” »
↑ (en)« “My father was Swedish and my baptismal name is Nathalie but I guess my daddy thought that was a little much for a little tiny baby so he started calling me “tupsa.” That’s sort of like calling a little girl “sweetheart” or “honeybunch” or one of those sweet little terms and as the years went by it went from “tupsa” to “tiffs” to “tippi.”.” (Tippi Hedren) »
↑ (en)« “All of my life prior to that time, I had wanted to be an ice skater. I worked so hard too, with the figure skating. My parents did not have enough money to send me to classes so I would go and watch my friends when they took their classes. There were lakes all over Minneapolis where I grew up, so I would practice out there. Then I had to have an operation on my foot (...) The following year, I had to have another operation, and so my skating career rather went by the boards.” (Tippi Hedren) »
↑ (en)« “One day, I stepped off a streetcar on my way home from school; this was when I was around fourteen years old. A woman handed me her card and said, “Would you ask your mother to bring you down to Donaldson's department store, where I would like to have you model in our Saturday morning fashion shows?” Therefore, we did that.” (Tippi Hedren) »
↑ (en)« Armed with nothing more than self-confidence, she telephoned Eileen Ford, head of the forcible Ford Model Agency in New York. “It was on Thursday and she told me to be in her office on Monday morning - 9 sharp,” says Tippi, who took the next train East. The meeting clicked into instant success. “The next day I was getting $35-an-hour as a photographic model,” says Tippi about her overnight success. »
↑ (en)« Hedren rented a three-bedroom house in Sherman Oaks for $500 a month, hoping to continue the successful modeling career that she had enjoyed in New York. It didn't really happen for her, but Hedren possessed a great deal of self-confidence, so adapted her modeling to include commercials. »
↑ (en)« “I had been modelling in New York for a long time. It was about 11 years. And my career was sort of waning in that fashion business. I had done a number of commercials, and at one point I had about 12 of them going, and one of them ran on The Today Show every morning for about a month. And apparently, a producer/director was watching the show and decided to find out who the girl was, where she was, and all of that. So I received a call on Friday, the 13th of October of 1961. It was, “Are you the girl in the Sego commercial?" – it was a diet product. And I said, “Yes.” And they said, “Would you come over to Universal Studios?” I did, and I met with an executive there. I asked, who is the director, and he wouldn't tell me. And then he asked if I would leave my photographs and commercial film over the weekend. So I said, “Yes, but I will have to pick them up on Monday.” (Tippi Hedren) »
↑ (en)« “I went over and met with Mr. Citron, and I sat down and he said, “I suppose you're a little bit curious as to who this director is.” I said, “Yes.” He said, “Alfred Hitchcock wants to sign you to a contract if you will agree with the terms.” (Tippi Hedren) »
↑ (en)« “I was under contract with Hitchcock before I even met him.” (Tippi Hedren) »
↑ (en)« When she discovered the mystery producer was Hitchcock, she was thrilled, thinking that perhaps he might want her to work on one of his television projects. “A contract would mean a salary for me to take care of my daughter. And from one of the most famous directors in the entire industry. What could possibly be wrong with that?” (Tippi Hedren) »
↑ (en)« “So Herman Citren and I went over to meet with Hitch, and we didn't talk about anything other than -- Oh, we talked about food, we talked about travel, we talked about wines. We didn't mention movies at all. Not at all.” (Tippi Hedren) »
↑ (en)« Like many of Hitchcock's previous leading ladies Madeleine Carroll, Grace Kelly and Kim Novak. Hedren was a statuesque blonde with a cool, sophisticated manner. “Hitch always liked women who behaved like well-bred ladies,” explained Robert Boyle. “Tippi generated that quality. He was quite taken by the way she walked.” »
↑ (en)« “They talked about doing a screen test, and they chose three different roles for me to play in this screen test -- one from Rebecca, one from Notorious and one from To Catch a Thief. Now, the se are three entirely different women. And Hitch was my drama coach, and I would go over to the Hitchcock home where Alma and Hitch would both go over the scenes with me, which was fantastic. (...) In order to do the screen test, we needed a leading man and Hitch flew Martin Balsam out from New York to be my leading man.” (Tippi Hedren) »
↑ (en)« “I hadn't had any acting experience except in commercials. You get a good technical background for that sort of thing. But to break down a script, to delve into how you become another character, the relationship of different characters in the film was something that I didn't know how to do, and of course, it was perfect to have someone as brilliant a genius as Alfred Hitchcock being my drama coach.” (Tippi Hedren) »
↑ (en)« Finally, four months later, Hedren was invited to lunch with Hitchcock, his wife, Alma, and Lew Wassermann, head of Universal. »
↑ (en)« “Hitch placed a very, very beautifully wrapped package from Gumps in San Francisco. It was one of his favorite shops. And I opened the box and there was this beautiful pin of three birds in flight, with the seed pearls and gold, and I looked over at Hitch, and he said, “We want you to play Melanie in The Birds.”” (Tippi Hedren) »
↑ (en)« “I was so stunned. It never occurred to me that I would be given a leading role in a major motion picture.” (Tippi Hedren) »
↑ (en)« Hitchcock's “guidance” even extended to personally selecting the jewelry Hedren wears in the film: one good bracelet, a ring and a single strand of baby pearls. “Hitchcock has a fondness for simple and elegant things like scarves and mink coats,” said Oscar-winning designer Edith Head, “so these things also became a part of her wardrobe.” Hitchcock felt there was something about Tippi that suggested a certain withdrawal, a chaste, cool quality, thus Head created the soft green suit Melanie wears throughout most of the film. »
↑ (en)« Hitch was both her director and her drama coach, she says. “He was thrilled that I hadn’t had any acting training; I didn’t have to unlearn anything.” (Tippi Hedren) »
↑ (en)« “I probably learned in three years what it would have taken me 15 years to learn otherwise,” said Hedren, who sat in on meetings concerning all phases of the production. »
↑ (en)« Hitchcock saw a parallel between Melanie and the Tallulah Bankhead character in LIFEBOAT as “starting out as a jaded sophisticate and becoming more natural and humane in the course of her physical ordeal.” »
↑ (en)« At the start, filming The Birds was “wonderful”. »
↑ (en)« “I was only allowed one half-day off during six months of filming.” (Tippi Hedren) »
↑ (en)« “They had, supposedly, shatter proof glass in there. And the seagull comes and hits the phone booth -- They had the seagull on the wire, and it was a fake bird, of course. And the bird comes down, hits the glass, and the glass shattered and got all over my face. It was pretty scary. And we spent the afternoon taking little tiny bits of glass away from my skin.” (Tippi Hedren) »
↑ (en)« Tippi still vividly remembers the real horror of shooting the attic scene in “The Birds.” “I remember it well,” she stressed. “When I first read the script, I said, ‘Mr. Hitchcock, why would I go upstairs? First of all, after knowing what happened to everybody in town, the children and all the farmers?’ He said, ‘Because I tell you to.’ Well, that was fine.” »
↑ (en)« “But, the second question I asked was, ‘How would we be doing the filming of those birds when they start to attack me? He said, ‘We’ll use mechanical birds like we do with the children.’” »
↑ (en)« “They told me -- Hitch always told me for the entire filming -- that we were going to use mechanical birds for that scene. I said, “Fine. Don't have anything to worry about.” It was on a Monday morning that we were going to start the scene, and Jim Brown, the assistant director, came into my dressing room on the set. And we'd known each other for a long time. And he couldn't look at me. He looked at the floor, he looked at the walls, he looked at the ceiling. I said, “What's the matter with you?” And he said, “We can't use the mechanical birds. They don't work.” And out the door he went. And I just blanched white because I had seen the bird trainers with their leather gauntlets up to their shoulders, and scratches that they had from the birds. And I walked out onto the set, and there was never an intention of using mechanical birds. They had a cage built around the set so the birds wouldn't be up in the rafters for the remainder of the shoot. And there were three boxes, great big cartons, of ravens and seagulls. And prop men, with their leather gauntlets, hurled birds at me for five days.” (Tippi Hedren) »
↑ (en)« After two days of shooting, the strain began to show. “By Wednesday of the shooting week, I was tired,” Hedren sighed. “By Thursday, I was noticeably nervous.” »
↑ (en)« “That Wednesday, Cary Grant came onto the set to see Hitch, and he walked over to me and he said, “I think you're the bravest lady I've ever met.”” (Tippi Hedren) »
↑ (en)« “By Friday they had me on the floor. You know, 'cause I'd just crumpled from sheer exhaustion as the character is being hurt. And Rita Riggs, who was my dresser -- who became a wonderful designer -- she had put cloth bands around my body with little elastics -- two little elastics -- sticking out everywhere. Then we put the dress on, and with the holes in the dress, she would pull the elastics through, and then they would tie the foot of the bird to me, and, uh -- Friday, I was that way all day, and one of the birds decided to move from my shoulder up on to my -- It just jumped, and scratched me very close to my eye, and I said, “That's enough!” And I got them all off of me. And I just sat in the middle of the stage and cried. I mean, I was just totally exhausted. And everybody left. Sort of left me there!” (Tippi Hedren) »
↑ (en)« “I don't remember the weekend, and, I don't remember driving to the studio the following Monday. I got into my dressing room -- beautiful dressing room -- and laid down on the couch, and my makeup man, Howard Smit, came, uh, to get me, you know, for makeup, and, uh, he couldn't wake me. I was just out. I mean, just out. Just totally exhausted.” (Tippi Hedren) »
↑ (en)« “It was a nightmare! I ended up in a doctor’s care for a week. Hitchcock said, ‘She can’t rest for a week. We have nobody else to film.’ The doctor said, ‘What are you trying to do, kill her?’ I didn’t hear Hitchcock’s answer.” »
↑ (en)« “So the scene, actually, when he brings her down the stairs, that was a double because Tippi was in the hospital from exhaustion. So he carries this other lady down the stairs. And then I'm sure he went back later and did insert shots of her face.” (Veronica Cartwright) »
↑ (en)« “I then considered the possibility that maybe this was one of the reasons why Hitchcock had chosen an unknown for the part. There was an element of danger in it, since the birds were not all nice guys.” (Tippi Hedren) »
↑ (en)« Hitchcock decreed, in every connection with Alfred Hitchcock and his films, the name was to appear enclosed in single quotation marks : 'Tippi' Hedren. It was the first gentle move of proprietorship. »
↑ (en)« Then he brought in two members of his crew and asked them to keep careful watch on the activities of Miss Hedren when she left the set - where whe went, who she visited, how she spent her free time. »
↑ (en)« “He was developing this obsession and I began to feel uncomfortable because I had no control. I had to be very careful. He tried to control everything: what I wore, ate and drank.” (Tippi Hedren) »
↑ (en)« He sent her gifts: flowers, jewellery, wine, and could be seen staring intently at her on set. »
↑ (en)« During filming of The Birds two years earlier, Hitchcock had banned any of the other cast and crew from talking to her and, on one occasion, had attempted to grab and violently kiss her in the back of a car as they drove on to the set. »
↑ (en)« “Little by little, no one was permitted to come close to her during the production. ‘Don’t touch the girl after I call cut!’ he said to me repeatedly.” (Rod Taylor) »
↑ (en)« “He just kept staring at me, watching me all the time. It was a little unsettling, on the set or wherever.” (Tippi Hedren) »
↑ (en)« “While we were doing The Birds - because this manifestation happened during the latter part of filming The Birds - I remember Suzanne Pleshette saying to me, because I was a newcomer in the business; she said, 'It isn't always like this.'” (Tippi Hedren) »
↑ (en)« Despite a shrewd ad campaign topped by the amusing tag line - “The Birds is Coming.” »
↑ (en)« After a few weeks of filming The Birds with Rod Taylor, director Alfred Hitchcock told Associated Press reporter Bob Thomas, “Tippi Hedren is really remarkable. She's already reaching the lows and highs of terror”. »
↑ (en)« “Tippi has a faster tempo, city glibness, more humor [than Grace Kelly].” (Alfred Hitchcock) »
↑ (en)« “Making a terrifying menace out of what is assumed to be one of nature's most innocent creatures and one of man's most melodious friends, Mr. Hitchcock and his associates have constructed a horror film that should raise the hackles on the most courageous and put goose-pimples on the toughest hide.” »
↑ (en)« The New Yorker called the film a “sorry failure.” »
↑ (en)« Time accused it of “silly plot boiling.” »
↑ (en)« Newsweek wrote that the central premise was “inexpertly handled.” »
↑ (en)« “My mother and father were very close friends of Princess Grace and Prince Rainier. And when my father found this story, Marnie, they went over, and they talked to Grace, and she loved the story and really was prepared to come back.” (Patricia Hitchcock) »
↑ (fr)« Bien qu'opposé pendant des années au retour de sa femme au cinéma, Rainier était fréquemment cité comme ayant déclaré qu'il tiendrait compagnie à la princesse pendant le tournage. Selon un biographe de Grace Kelly, Rainier, “soucieux de la santé mentale de sa femme et encouragé par son affection et son respect pour Alfred Hitchcock”, approuva Marnie. »
↑ (fr)« Ainsi, il jeta de l'huile sur le feu en accordant une interview exclusive à Peter Evans, journaliste londonien du Daily Express, pendant le tournage des Oiseaux, célébrant le sex-appeal de Kelly comme « le plus merveilleux du monde ». Dans un flot de lettres et de pétitions, les Monégasques protestèrent contre la perspective de voir leur princesse dans des scènes d'amour hollywoodiennes - voire le genre de quasi-viol représenté dans Marnie. »
↑ (en)« President Charles de Gaulle was irritated over Monaco's free and easy tax system which included no income or corporation taxes. »
↑ (en)« Metro Godlyn Mayer claimed that their contract with Kelly was merely suspended and not canceled when she left Hollywood in 1956; therefore, could only make films for them. On March 23, Joseph R. Vogel, an MGM representative, sent a letter to Hitchcock pointing out that since Kelly's contract had not lapsed with the studio, they should have participation in the film. »
↑ (en)« In the process, Grace Kelly had no choice but to abandon the cinema definitely. »
↑ (en)« “It was heartbreaking for me to have to leave the picture.” »
↑ (en)« Stefano tried to persuade Hitchcock from shelving the project by suggesting that he could name five actresses who would be sensational in the title role: “I thought of Eva Marie Saint. I thought that she would have been even deeper than Kelly.” »
↑ (en)« “He was very, very disappointed, and I tried to suggest other actresses. I said, you know, I could name ten right now who could play Marnie. And he said, "No." It was over. So, I went away and did other stuff, and he went on and did The Birds. And then by the time he had done The Birds and decided that Tippi Hedren could do Marnie, I had created a television show -- The Outer Limits. I was producing it and not available.” (Joseph Stefano) »
↑ (en)« “There's a scene in the book and in the movie when the Mark Rutland character is on his honeymoon with Marnie, who is frigid. And he is approaching her to make love to her, and she backs away and is cowering and trembling and really shaking in fear, and he rapes her. (...) knew every woman in the audience would hate him... Sean Connery or whoever... Rock Hudson. They'd hate him if he raped this woman. And he disagreed with me entirely. He totally disagreed when we finally got this out in the open. (...) And I got fired a couple days later.” (Evan Hunter) »
↑ (en)« “All during the time that we were filming The Birds, I was aware that Marnie was being written by Jay Presson Allen and Grace Kelly was going to play the part. And I remember doing the scene with Rod Taylor up on the hill. It was during that scene that I was told that I was going to do Marnie.” (Tippi Hedren) »
↑ (en)« “I was stunned. I was amazed that he would offer me this incredible role and that he would have that kind of faith in me. (...) I thought Marnie was an extremely interesting role to play and a once-in-a-lifetime opportunity.” (Tippi Hedren) »
↑ (en)« “Hitchcock was the sole reason that I could have done that character... was that the discussions that we had. I sat with him and with Jay Presson Allen when they were writing, and often and we would talk about the character.” (Tippi Hedren) »
↑ (en)« For Tippi Hedren, reading the novel was very enlightening because the thought processes in Marnie's head highlighted her as a sad, devious, complex, and tragic woman. Hedren had attended conferences with Hitchcock and Jay Presson Allen when they were writing the script. »
↑ (en)« With Tippi Hedren, however, as the story conferences testify, he rehearsed every look and every word prior to filming. With the other actors, he allowed them their own interpretation, but Hedren gained his full attention. »
↑ (en)« “I consider my acting, while not necessarily being method acting, but one that draws upon my own feelings.” (Tippi Hedren) »
↑ (en)« “I studied Marnie at great length through the book. I talked to psychiatrists about her, just to get kind of an idea just how this would manifest itself into a later life.” (Tippi Hedren) »
↑ (en)« “She was such a complicated, sad, tragic woman.” (Tippi Hedren) »
↑ (en)« Why did she go back to make another Hitchcock movie, the darkly suggestive Marnie, where Hedren plays a compulsive thief alongside Sean Connery? “Because I was under contract,” she says. »
↑ (en)« “Sean Connery had just come out of Dr. No, and that's who he chose. And when I heard about it I said, “Hitch, how could you do this?” I mean, here... You know, the Marnie character... is totally against all men. I mean, screams if one of them comes near her. I mean, I don't care how much of a man-hater you are, or how negatively you feel about men, you take one look at Sean Connery, and I mean, oh, come on, Hitch. “How am I going... How am I going to do this part?” He said, “It's called acting, my dear.” Which was great. That was the answer.” (Tippi Hedren) »
↑ (en)« Crucial to Marnie's duplicitous personalities and metamorphosis from demure secretary to mainline society hostess were the hairstyles created for her character. »
↑ (en)« On november 11, Hitchcock wrote a letter to Alexandre: “I would like to express my appreciation of the hairstyles which you have designed for Miss Tippi Hedren who will star in my forthcoming motion picture Marnie. I am extremely pleased with them and know that they will be a great asset to my picture.” »
↑ (en)« Hedren had just become engaged to her agent Noel Marshall, an event that displeased Hitchcock. The director was of the old school of thought, telling Hedren that she, and actors in general, should not get married but remain committed to their craft. »
↑ (en)« “I remember very clearly that we were supposed to start shooting on a Monday. And that Friday, President Kennedy was assassinated. And, um, it threw... there was a national holiday of mourning on Monday, so we had to push back shooting.” (Hilton A. Green) »
↑ (en)« “You were in the living room of my house in Santa Cruz, and there was a rainbow, a glow around you. You came right up to me and said, ʻHitch, I love you -- Iʼll always love you,ʼ and we embraced. Donʼt you understand that youʼre everything Iʼve ever dreamed about?” “But it was a dream, Hitch,” objected Hedren. “Just a dream.” »
↑ (en)« “Nothing could have been more horrible for me than to arrive on that movie set and to see her being treated the way she was.” (Diane Baker) »
↑ (en)« “It was difficult being in the middle between Hitch and Tippi. Here the leading actress was leaving a contract. As far as a falling out, there was definitely a change in their relationship. Hitch enjoyed his long lunches with the best red wine; he was a connoisseur of both good wine and good food. Of course, I never ate much lunch normally, but I was invited along with several others to join him in his bungalow where these extraordinary lunches were catered, but I couldn’t drink during the filming and never will. The conversations were stimulating, often with the creative team. But Tippi was never there, which made me uncomfortable. I felt he was uncomfortable. I felt he was ignoring Tippi and bringing me in to replace her. I was thrilled on the one hand to be included in this special world, but I was afraid of falling under his control.” (Diane Baker) »
↑ (en)« “Once when Tippi was nearby, Hitch was talking to me, with respect and warmth, then he said something unkind about her which was meant to hurt her.” (...) The actress found herself retaliating in the only way she knew how. Baker confronted the director: “Mr. Hitchcock, if you are saying these things about Tippi, I’m wondering what you’re saying behind my back?” To which Hitchcock replied, ‘Oh, I would never say anything against you. I would never to do that to you.’” (Diane Baker) »
↑ (en)« “I was determined not to engage in this backbiting. (...) One of the studio people took me to lunch one day and saw that I was disturbed, with the result that whatever I said during that lunch was reported back to Hitchcock, so that he knew that I was upset. The tension did get so great, one day just before Christmas I was sick.” (Diane Baker) »
↑ (en)« After their second film together — the psychological thriller Marnie, in which she starred opposite Sean Connery — Hedren was nominated for the Photoplay Award as the most promising new actress of the year. She asked Hitchcock’s permission to travel to New York to appear on The Tonight Show, where the award was to be presented. But Hitchcock could not bear the prospect of her departure, even for two days. He abruptly refused permission for her to go, telephoning the network on her behalf to reject the award and cancel her appearance. (...) But that day, unable to contain herself any longer, all the pent-up emotion poured forth as she exploded, screaming at Hitchcock and allegedly calling him ‘a fat pig’ in front of the assembled crew on the set. (...) From that moment, he brutally excised her from his life, threatening to ruin her career and declining even to address her personally, except through intermediaries. He never again uttered her name, referring to her only as ‘that girl’. »
↑ (en)« “She did what no one is permitted to do. She referred to my weight.” (Alfred Hitchcock) »
↑ (en)« Hedren maintained a dignified discretion despite the turbulent undercurrents during filming. When she spoke to Allen on one occasion about the tension, the screenwriter advised her to finish the film and then get on with her life and be happy. »
↑ (en)« Virginia Darcy also tried to intervene, telling Hitchcock not to be possessive: “Hitch was a romantic, and he got the romance in his life through his films. Marnie was a very difficult job for him and it took its toll. He put himself in the leading man's role was possessive on his leading ladies. Tippi felt rightly that she was not his property, but he'd say, 'You are, I have acontract.' She didn't know his ways. Tippi was from New York, and the modeling scene there is very different to Hollywood.” »
↑ (en)« “Alma was an enigma to everyone. Nobody could understand what their relationship was. At one point she came up to me and said, ‘Tippi, I’m so sorry you have to go through this.’ I looked at her and said, ‘But you could stop it,’ and she just kind of glazed over, turned and walked away.” (Tippi Hedren) »
↑ (en)« After rebuffing him, “I became an expert in ways to not be alone with him.” (Tippi Hedren) »
↑ (en)« Alone with Hedren in her trailer after the day's work, he made an overt sexual proposition that she could neither ignore nor answer casually, as she could his previous gestures. »
↑ (en)« “Hitch called me into his office on the set. He stared at me and simply said, as if it was the most natural thing in the world, that from this time on, he expected me to make myself sexually available and accessible to him – however and whenever and wherever he wanted.” (Tippi Hedren) »
↑ (en)« The actress was appalled and humiliated. »
↑ (en)« “He made these demands on me, and no way could I acquiesce to them.” (Tippi Hedren) »
↑ (en)« “That was the moment, after almost three years of trying to cope, when I finally had enough – that was the limit, that was the end.” (Tippi Hedren) »
↑ (en)« “All I wanted to do was to get out of the horrible situation.” (Tippi Hedren) »
↑ (en)« “Those were the big studio days and there was no one I could go to. The ‘sexual abuse’ thing did not exist at that time. I never told my parents because they would have been destroyed.” (Tippi Hedren) »
↑ (en)« “Alfred Hitchcock's "Marnie" is at once a fascinating study of a sexual relationship and the master's most disappointing film in years.” »
↑ (fr)« Marnie est un film ennuyeux, geignard, sans mystère, sans malice et sans humour. »
↑ (fr)« Cette laborieuse histoire de traumatisme infantile distille un profond ennui. »
↑ (fr)« Ce qu’Hitchcock a su rendre palpitant, passionnant et insolite, c’est tout le climat du film : succession de longs moments angoissants comme dans Vertigo (...) Quand un divertissement atteint cette qualité, le cinéma n’est plus seulement un spectacle qui vous rend passif : Marnie est un film qui excite l’esprit et taquine les nerfs. »
↑ (fr)« Marnie est sans doute à ce jour le plus beau film d’Alfred Hitchcock. »
↑ (en)« Indeed, the terms of her contract allowed Hitchcock the power to approve any offers that came her way – or more specifically, disapprove. »
↑ (en)« Originally, Tippi Hedren was supposed to play Janet Walker, but Alfred Hitchcock told Ralph Levy she was not available. »
↑ (en)« Director Edward Dmytryk originally wanted to cast Tippi Hedren in the part of Shela, but Hedren was under a personal contract with Alfred Hitchcock who told Dmytryk she was not available. Diane Baker, who had played opposite Hedren in Hitchcock's Marnie, took over the role. »
↑ (en)« Truffaut originally wanted Tippi Hedren and Jean Seberg to play the parts of Linda Montag and Clarisse. However, Alfred Hitchcock told Truffaut that Hedren was not available to work with him, and Seberg was considered "not bankable enough" by the producers, so Julie Christie was cast instead in both parts. »
↑ (en)« Directors, including François Truffaut, came knocking. They were all sent away. Hitchcock informed them that Hedren, the hottest actress in Hollywood, was “not available” for work. »
↑ (en)« “There was never a question of us working together again. It was just a very definite cut off. And it was by me. I am totally responsible for it.” (Tippi Hedren) »
↑ (en)« Hedren was under contract not to Hitchcock but to his home studio of Universal; thus, she was obliged to appear in a 1963 Kraft Suspense Theatre episode. »
↑ (en)« Hitchcock eventually gave her contract to Universal, who let her go after she declined to be in a TV Western, but the momentum of those first two movies had evaporated. »
↑ (en)« His fixation on Hedren, which prompted unwanted sexual advances, refusing to let her out of her contract and ultimately blacklisting her. »
↑ (en)« “I had just gotten out of my contract with Hitchcock. Charlie Chaplin called and asked if I wanted to be in this film, which was his last. So of course, I said .“Yes, would you please send me a script?” However, they did not send any scripts out, because Charlie did not want anyone reading it, and reporting it to the press or whatever. Therefore, Marlon and I both accepted the film without reading the script. We were just told over the phone what the characters were like, what the relationships to the people were like, all of that, as much as they could tell us, verbally. Of course I thought, how could I not accept this wonderful role, what a gift it was, and Marlon felt the same way. When I got to England, I went right from the airport to the set, because I was so excited about meeting everyone. I was joyous getting to know everybody. I talked to everyone, and I said, “May I have a script?” and they handed me the script and everybody left the stage. I had been told I was going to play the part of Martha, Marlon Brando's wife, and that he was playing the ambassador, that our relationship was in very, very bad straits, and that I would come in, oh, halfway through the script. Therefore, I sat down with the script, and I was paging through it ad looking for Martha. I got halfway through and there was no Martha, and I got three-quarters of the way through and then appears Martha. Instead of being all the way through the remainder, she is in four scenes. I was a little bit upset about the whole thing, I mentioned this to Charlie, and he said, “Why don't you come and have dinner with Oona and me?” (...) Therefore, I went to have dinner with Oona and Charlie, and during dinner I said, “Charlie, why didn't you just tell me it was a cameo? I would have done this film anyway.” Every actor in the world was asking if they could do this film, to just do a walk-on, without even being paid for it. When I said, “Why didn't you just tell me that it was cameo?” he said, “I didn't think you would come,” which was very sweet.” (Tippi Hedren) »
↑ (fr)« Tippi Hedren jouait un petit rôle comme ex-femme de Marlon. Nous étions désolés que le rôle ne soit pas plus important. Elle et son mari Noël Marshall demandèrent à Charlie s'il était possible de lui donner des scènes supplémentaires. Il essaya mais cela aurait gâché la construction du film. »
↑ (en)« “Working with Chaplin was very amusing and strange.” (Tippi Hedren) »
↑ (en)« “Charlie would act out all our roles for us, he would play my part, Sophia’s (Loren) part, Marlon Brando’s, his son Sydney. Then afterward he would say, ‘now you do it.’” (Tippi Hedren) »
↑ (fr)« Tippi était une vraie professionnelle, pondérée, avec une authentique gentillesse. J'aimais sa voix - guturale, sensuelle et musicale - et Charlie trouvait très facile de la diriger. Elle avait cette qualité qu'il aimait chez les actrices américaines - elle était très détendue. »
↑ (en)« The dismal truth is it is awful. »
↑ (en)« An old-fashioned bedroom farce. »
↑ (en)« Tippi Hedren has served on two masters in a brief, spectacular film career. »
↑ (en)« “Working for Hitch and Charlie has been very special to me, and now I'm going to wait for something special to come along.” (Tippi Hedren) »
↑ (en)« The glamorous star of The Birds, Marnie and The Countess from Hong Kong, now comes to Saskatoon to give a memorable and moving stage performance in a play hailed by critics as « one of the most powerful evenings in the theatre. ». »
↑ (en)« “But the reason I really wanted to do it, because I wanted to go that continent.” (Tippi Hedren) »
↑ (en)« George Montgomery wrote from Africa that he and the rest of the "Satan's Harvest" crew had the scare of their lives. The producers picked out a lovely riverside location by the Lampopo river in Rhodesia to shoot one particular scene. When the crew and cast moved in they found the spot already inhabited by a family of cobras. "Needless to say," George wrote, "we exited fast!" So fast that they had to send native "beaters" (to beat the snakes, naturally) back in later to rescue their equipment. »
↑ (en)« To understand how Shambala came to be, we must go back to 1969 when Tippi was filming Satan’s Harvest in Africa. There she met a mellow lion named Dandylion and suddenly had the feeling "there was much to discover about the big cats." »
↑ (en)« A trip to Gorongosa, Mozambique’s largest game preserve, brought Tippi and her husband Noel Marshall to an abandoned house inhabited by 30 lions and their cubs, some asleep in window frames, others gazing down from the roof, a couple sitting on a dilapidated porch swing, and one resting in a broken rocking chair. It was this bizarre scene that prompted Noel to say, "you know, we ought to make a picture about this." »
↑ (en)« Roar's working title was Lions, Lions and More Lions. »
↑ (en)« This movie has been described as a cross between The Birds and Born Free. »
↑ (en)« We were going to use Hollywood acting animals, and have a nine month shoot. »
↑ (en)« “So, anyway we were going to originally use Hollywood-acting animals, and have a nine-month shoot. But as soon as the trainers read the script about the house with the lions living in it, and working with thirty, maybe forty cats, they laughed at it and said it can not be done because of instinctual dictates to fight. They suggested that we get our own animals to do the movie, introduce them very carefully, and it that way.” (Tippi Hedren) »
↑ (en)« The first little animal that we acquired, a little lion, was a rescue from a doctor. »
↑ (en)« On their return to California they began acquiring cats from zoos, circuses and animal control officers. »
↑ (en)« But Tippi writes that "the months we spent raising the cubs were marvelous, unique learning experiences for us all. (...)" »
↑ (en)« Believing that nothing was more important than day-and-night communication with the cubs, Tippi shocked friends when she admitted that she absolutely made sure the cubs even slept with her or her children. »
↑ (en)« They did this in their house in Sherman Oaks, Calif. In the beginning until they got caught. Then they bought a ranch in Acton, Calif. Where it is legal, if you get all the permits, to raise these animals. Then they got tigers. Not needed for the film, but very amazing. Then elephants. Cougars. Cheetahs. »
↑ (en)« This movie was financed by husband and wife Noel Marshall and Tippi Hedren. Reportedly, to finance this picture, Hedren and Marshall had to mortgage their assets including their ranch. They had to sell: their Beverly Hills home, 120 acres of prime real estate in the San Fernando Valley and other assets in order complete this picture. »
↑ (en)« Finances were so precarious that, at one point, Hedren pawned her jewelry. »
↑ (en)« It's the story of an experimental college where everybody lives together. Because of that theme, it is often dismissed as a dirty book, but it's more than that. »
↑ (en)« But it isn't a dirty movie. It deals with vital themes - themes like the decline in importance of ideas like possession and jealousy and, by inference, marriage. I have four teenage children and I think this picture says some valuable things to them. »
↑ (en)« It is something more like soap opera with a little frontal nudity. »
↑ (en)« Ads for The Harrad Experiment resemble most run-of-the-mill X-picture promotions, and this undoubtedly turned away a lot of potential viewers. That's a shame, because the film really has something to say. »
↑ (en)« This movie was somewhat of a family affair. Actor-writer-director-production designer Noel Marshall cast two of his three real-life sons, Jerry Marshall and John Marshall, to play his sons Jerry and John in this picture. His other son, Joel Marshall worked behind-the-scenes, and was art director. Jerry Marshall also acted as an editor whilst Mona Marshall acted as an assistant editor. Tippi Hedren, married to Noel Marshall, both acted as producers, whilst Hedren starred in this movie along with her daughter, Melanie Griffith. »
↑ (en)« Even though it was a narrative film, much of Roar was shot documentary style. Oh sure, there was a script and a general storyline, but every scene involving lions was improvised and photographed with at least 4 cameras. Some scenes were covered with as many as 8 Panavision 35mm cameras! »
↑ (en)« Did I mention that the big cats weren’t trained? »
↑ (en)« Temperament in an actor is expectable, but an elephant named Tembo has gone Hollywood with a vengeance. (...) A few days later Tembo had another tantrum, wrapping his powerful trunk around co-star Tippi Hedren, late of Alfred Hitchcock's The Birds, and tossing her onto his head. She came down with a fractured leg and ankle. »
↑ (en)« Moreover, also during production, Hedren was bitten on the back of her head by a lioness called Sheri. Hedren received thirty-eight stitches to the open wound. »
↑ (en)« During filming in 1977, Melanie Griffith was mauled by a lion and required plastic surgery. Griffith reportedly received fifty stitches to her face. »
↑ (en)« Cinematographer Jan de Bont was mauled and scalped by a lion on the set. de Bont required over 120 stitches to sew his scalp back from where a lion had bitten his head. After medical treatment, de Bont actually returned to the production to complete his D.O.P. duties. »
↑ (en)« A horrifying experience befell Tippi Hedren, whose trip to Argentina for Where the Wind Dies was cut short when she received word that her producer-husband, Noel Marshall, was attacked by a lion he has been training for his next film, Roar. Marshall's hand was badly bitten has he attempted to separate two 500-pound cats that had begun to fight. »
↑ (en)« In 1978, a flood from a dam break killed many lions in the film, washed away the set and destroyed nearly all of the movie, including sets, completed film footage and three key lions including Robbie, the movie's lion king. The picture was set back several years and the damaged done amounted to approximately US $4 million. »
↑ (en)« In September 1979, a bushfire threatened the ranch where this movie was filming. All the animals were evacuated to safety. Noel Marshall was clawed by a cheetah when protecting the wildlife during this fire. »
↑ (en)« “We were so sure the film was going to be a success that we thought everything (financing the ranch and the lions, etc.) would take care of itself.” (Tippi Hedren) »
↑ (en)« “It was finally released all over the world but not the United States, because the United States distributors wanted the lion's share of the profits, and we thought it ought to go to the beautiful animals that made the movie.” (Tippi Hedren) »
↑ (en)« The noble intentions of director-writer-producer Noel Marshall and his actress-wife Tippi Hedren shine through the faults and short-comings of Roar, their 11-year, $17 million project - touted as the most disaster-plagued pic in Hollywood history. »
↑ (en)« What happened to her, she says, was simply an obsession: initially with getting the movie made, but in the long run, an obsession with these big cats. »
↑ (en)« “We could not see beyond our own hopes and egos.” (Tippi Hedren) »
↑ (en)« “Hedren's career, she says, just sort of slid--downward--the more she became involved with the cats.” (Tippi Hedren) »
↑ (en)« Tippi Hedren has a cameo and she freaks out when some birds go near her. Her daughter smiles and says, "Mother has this thing about birds." Too funny! »
↑ (en)« The episode, titled Psychodrama and shown in black and white, honors the master of suspense with parodies of such films as The Birds (Tippi Hedren guest-stars), Marnie, Vertigo, Rear Window and, of course, Psycho. »
↑ (en)« Tippi Hedren guest stars as "Alfreda Perkins". This character name is a reference to Alfred Hitchcock and 'Anthony Perkins'. »
↑ (en)« Hedren describes her storekeeper as “very together and knowledgeable about everything on the island. She is ecologically concerned about what is going on in our world.” »
↑ (en)« Unlike the original, the sequel explains the motives for the attacks. “In this movie, they are making an ecological statement,” Hedren says. “This time, we are trying to show that man screwed up the planet so desperately the birds are retaliating.” »
↑ (en)« Debuting Saturday, Hedren appears in the Showtime sequel to Hitchcock's feathery thriller, "The Birds II: Land's End," and she's not happy about it! Tippi was offered a small cameo role, which she accepted, but now she tells "Entertainment Tonight": “I feel badly that I'm not the lead - that I don't have a starring role. I certainly would have preferred that.” And when pressed on what Hitchcock himself might have thought of the sequel, Hedren, who didn't get along very well with the master of suspense, merely groans: “I'd hate to think what he would say!” »
↑ (en)« “The actors in Birds II have little to do except widen their eyes in terror.” »
↑ (en)« “Birds II (...) was directed by Alan Smithee, the time- honored Hollywood pseudonym used when a director wants to disown the finished product. But the poster and cassette box that Showtime sent along with the review tape clearly state that Rick Rosenthal (...) directed Birds II. He has good reasons to want his name erased from it. If it were me, I'd sue. ” »
↑ (en)« “The Birds II is mostly a by-the-numbers, nature-gone-unnaturally wild scenario that offers little of nothing in the way of suspense. We always know what's coming next. (...) What's most annoying, however, is the film's post-climax climax - a cliffhanger that tell us that The Birds III is on the way.” »
↑ (en)« “The Birds II corrects the major problem of the original - the lack of any explanation. (...) To be perfectly honest, The Birds II isn't half bad. In fact, if it weren't impossible to keep from comparing it to the original, we might even say it's pretty darn good.” »
↑ (en)« “I can't seem to find any agent to really get things going again. I'm know I'm good and that I still look good. I just don't know why I'm not working.” (Tippi Hedren) »
↑ (en)« “I'm so thrilled to a whole variety of films.” (Tippi Hedren) »
↑ (en)« I’m very appreciative to John Landis because he gave me the opportunity to do comedy. I’d never done comedy before and it was just wonderful for me to be able to do that. Everybody just thought of me as a serious actress so I owe that to John Landis, giving me that opportunity. »
↑ (en)« “I Woke up early the Day I Died was an incredible film. I must say I really loved that film. It was a unique kind of film to do also, because of the fact that it had no dialogue in it. It was very, very different.” (Tippi Hedren) »
↑ (en)« I just did a Murder, She Wrote with Angela Lansbury - absolutely the most lovely woman I ever met. »
↑ (en)« “I love doing the shorts and very often the scripts are really good.” (Tippi Hedren) »
↑ (en)« Q: You seem to be working more regularly as an actress than in the past. Is there any particular reason for this activity ? Hedren: “I have absolutely no idea, but I am enjoying it and I am having great fun with it.” »
↑ (en)« DAVID O. RUSSELL had developed something of a reputation. (...) But he was also known for alienating some of those actors while shooting. »
↑ (en)« In March 2007, two videos appeared on the Internet showing on-set arguments between David O. Russell and Lily Tomlin. »
↑ (en)« “I was able to work well with him.” (Tippi Hedren) / “While we were filming, I thought, “How is he going to edit this?” Because all of a sudden, he’d be like, “Now I’m going to do it this way,” and you’d think, “How is he going to edit this? How is this going to work?”” (Tippi Hedren) »
↑ (en)« “Well, he made it work. Somehow.” (Tippi Hedren) »
↑ (en)« “I am starting a film, which is going to be very interesting. I read the script and said, “I've got to do this, I've got to do this.” It is such an off-the-wall idea. The title is Diamond Zero. It involved a machine that makes it possible to make diamonds from men who have been cremated. Because we are carbon after we are gone, this machine will make diamonds out of the remains. Of course, my character is extremely diabolical and is quite a scary woman.” (Tippi Hedren) »
↑ (en)« Actress Laura Allen, who played the pivotal role of Lily Moore Tyler in the series made a business decision at the last minute before shooting began on the new season to not come back. »
↑ (en)« We were treated to a real class act in Hedren’s performance of the rapidly aging Lily, as her new (grown up) daughter began oozing the life right out of her in order to make that instant age transformation. »
↑ (en)« “I love that man. I was so impressed with his acting ability. He's a really amazing actor. He doesn't overdo it. He's so sensitive. The changes on his face are just amazing. He was a delight to work with.” (Tippi Hedren) »
↑ (en)« Hedren hadn't seen the series, so the producer sent her a selection of episodes on DVD before she flew up to the sets in Vancouver, British Columbia. “One night,” she says, “I thought, 'I'll look at a couple of shows tonight.' I was up till five in the morning. I went through all of them. It was so great. I loved the whole premise. It's exciting; it's scary; it's insightful; it's thought-provoking. I think it's just brilliant.” »
↑ (en)« As always, the guest casting is superb, including (...) Hitchcock icon Tippi Hedren as Wonder Woman's mother, Queen Hippolyta. »
↑ (en)« “It was great and I love Billy Bob Thornton. I absolutely love him. (...) The DP (Director of Photography) came over and said, “Hey, Tippi, you know we don’t rehearse.” I went, “Yes, how incredible!”” (Tippi Hedren) »
↑ (en)« Despite a credit for Tippi Hedren for Naomi on Imdb, we vonly get to see the back of Naomi's head when she's in her coffin. »
↑ (en)« “I tape it this coming week, Tommy. And when I read the script I laughed so hard, I cried.” (Tippi Hedren) »
↑ (en)« Hilarity ensues when Cloris Leachman's Maw Maw decides to switch dresses with Nana's corpse. »
↑ (en)« Have you heard that they’re making a biopic of Alfred Hitchcock during the making of Psycho? “Yes, in fact Tony Hopkins called me the other day and said that he wants me to come to the set. So I’ll be doing that in May.” (Tippi Hedren) »
↑ ^{a et b} (en)« “First of all I read the script. If it comes from a book, I read the book, maybe even a couple of times. When the script comes out, I read the script over and over and over and try to get a semblance of that character. Of course, the character that I play is the most important one for me. The relationships that you have with other characters and what in your character makes that relationship interesting is the most important.” (Tippi Hedren) »
↑ (en)« Of all her films, Marnie (1964) continues to be her favorite film, because of the complex title character. »
↑ (en)« “I felt the chemistry was totally lacking between Rod Taylor and Tippi Hedren.” (Evan Hunter) »
↑ (en)« Saturday Review's Arthur Knight wrote, “Hitchcock's newest 'find', Tippi Hedren is a decidedly lovely blonde.” »
↑ (en)« Hitchcock's follow-up picture to Psycho received generally harsh reviews from American critics with many criticizing Hedren's stylized, mannequin-like performance. »
↑ (en)« While many had been divided on his previous feature, The Birds, almost everyone complained about Tippi Hedren's acting abilities. »
↑ (en)« “Hitchcock has taken a pair of attractive and promising young players, Miss Hedren and Mr. Connery, and forced them into roles that cry for the talents of Grace Kelly and Cary Grant. Both work commendably and well -- but their inexperience shows.” »
↑ (en)« Hedren, undertaking role originally offered Grace Kelly for resumption of her screen career, credence to a part never sympathetic. It's a difficult assignment which she fulfills satisfactorily, although Hitchcock seldom permits her a change of pace which would have made her character more interesting. »
↑ (fr)« J'ai trouvé qu'il [Hitchcock] avait obtenu d'elle une interprétation assez efficace. (Jay Presson Allen) »
↑ (en)« She agreed with the critics who felt that Tippi Hedren was inadequate as Marnie and lacked the acting ability to make the character real and believable. But she added that the screenplay she had written had not adequately guided the actress or conveyed the character's pathos and vulnerability. »
↑ (en)« To him, Hedren was both untalented and exploitive of Hitchcock's obvious infatuation; still, he had no choice but to tolerate the situation. »
↑ (en)« “It's so unfair that Tippi Hedren has never had the credit she deserves for the two films she did with Hitchcock. I think the reason critics did not take her seriously is because she is too fashionable and therefore not 'serious'. The interplay between Hedren and [Suzanne] Pleshette in The Birds tells me more about women than any number of articles on feminist theory. Hitchcock captures the subtleties of females warring with each other; all those nuances of knives and guns conducted in looks and body language. He sculpts the human body in space. And I love the way Hedren handles cigarettes and a martini glass with such remarkable sophistication. It is gesturalism raised to the level of choreography.” (Camille Paglia) »
↑ (en)« Tippi Hedren's performance is likewise highly regarded as one of the finest female portrayals in any Hitchcock film. »
↑ (fr)« Surtout, Pas de printemps pour Marnie est la dernière collaboration entre Hitchcock et l'extraordinaire Tippi Hedren qui reste une des actrices hollywoodiennes les plus sous-estimées. (Laurent Bouzereau) »
↑ (en)« Found it touching when Sean Connery, her leading man from Pas de printemps pour Marnie (1964), said on television that she was underrated while almost everyone in Hollywood was overrated. »
↑ (en)« Tippi Hedren is pitifully sallow as his estranged wife. »
↑ (en)« Tippi Hedren, as Brando's wife, is superb in her few scenes at the tail-end of the picture. »
↑ (en)« Miss Hedren failed to convince us that she was a logical successor to Hitchcock's previous favorite female, a lady named Grace Kelly. »
↑ (en)« Her performance has the glow of a 25 watt bulb »
↑ (en)« Tippi Hedren. Just a distraction. »
↑ (en)« “My life as an actress was wonderful and marvelous but it was also extremely disappointing. It’s a very difficult career, at best. You are always looking for a job. You’re being talked about as though you were a piece of meat. It’s really difficult, as wonderful as it is to be an actress, it’s a double-edged sword.” (Tippi Hedren) »
↑ (en)« “I must say that I have more fun with my acting career than I used to. I do not take it quite so seriously. It's just fun.” (Tippi Hedren) »
↑ (en)« Tippi’s influence in cinema has endured — everyone from Jodie Foster to Naomi Watts has cited her as an inspiration (both dressed up as her for photoshoots in Vanity Fair) »
↑ (en)« “I was pretty fascinated by her then because people have often said that we're alike.” (Naomi Watts) »
↑ (en)« “Le hasard a voulu que je rencontre la merveilleuse Tippi Hedren, puisqu'elle faisait une apparition dans I Love Huckabees” (Naomi Watts) »
↑ (en)« Graham Fuller: “Were you thinking of Doris Day or Grace Kelly?” Naomi Watts: “Yeah. And Tippi Hedren, Kim Novak.” »
↑ (en)« Bridget Fonda, who played her daughter in the straight-to-cable film Break Up (1998), gushed to her about how she had watched Marnie (1964) "a million times". »
↑ (en)« Catherine Deneuve: “Marnie is a film I would have loved very much to do.” Geoff Andrew: “With all due respect to Tippi Hedren, I think I'd rather have seen you in it.” CD: “No, no. But it's a part I would have loved to play.” »
↑ (en)« Noel Marshall is said to have a violent temper. »
↑ (en)« Marshall continues to provide the bulk of Shambala's financial support. »
↑ (en)« “I think marriage is an individual choice, and it’s not for me. I’m a very independent person.” (Tippi Hedren) »
↑ (en)« “It was embarrassing and insulting—there were a lot of reasons why I didn’t want to tell the story. I didn’t want it to be taken advantage of, twisted, turned and made into an even uglier situation than it was.” (Tippi Hedren) »
↑ (en)« “There is a film that Sienna Miller has just done and it's called The Girl. (...) I went with her to see this and I was just shocked. She never told me what happened to her really with Hitchcock.” (Melanie Griffith) »
↑ (en)« “He was too possessive and too demanding,” says Tippi of her former discover, mentor and boss. “I cannot be possessed by anyone. But, then, that's my own hangup.” »
↑ (en)« “I broke the contract because there was just no way to go. It was an impossible situation. How can I put it? It just became where it wasn't good working, uh, good working, we reached an impasse.” (Tippi Hedren) »
↑ (en)« “I felt almost a sense of relief.” (Tippi Hedren) »
↑ (en)« “Peggy Robertson, his assistant for so many years, and I remained friends until she died. She at one point said to me that he would have these kind of feelings for his leading ladies, and she said, ‘But he never got over you.’” »
↑ (en)« “That time of my life was over. I still admire the man for who he was.” (Tippi Hedren) »
↑ (en)« “Donald is the first person I ever told this story to.” (Tippi Hedren) »
↑ (en)« “He then devoted Chapter 13 of ‘The Dark Side of Genius: The Life of Alfred Hitchcock’ to the Hitchcock-Hedren years.” (Tippi Hedren) »
↑ (en)« “He is absolutely true and honest in this book.” (Tippi Hedren) »
↑ (en)« Even today, Tippi doesn't want to talk about the imperious, overbearing Hitchcock. She referred me instead to Chapter 13 of a recent biography of the man. “It's very accurate as to just what he was,” she said. »
↑ (en)« “It was very, very difficult for me. I was a young woman, I wasn't married. He wanted me to be beholden to him for making me a star. Yes, he was sexually obsessed with me. It was awful but what could I do? There's no doubt about it, Hitch did have a very weird attitude towards women, perhaps because of his very strange childhood.” (Tippi Hedren) »
↑ (en)« “This was something I could never have done. I was not interested in him that way at all. I was fortunate enough to work with him, and as far as I was concerned, he ruined everything.” (Tippi Hedren) »
↑ (en)« She has no regrets. “I saved myself. I know that,” she says. “I feel good about that. I wish I had gone on to do all those other films. But I couldn’t. I replaced the films with other things.” (Tippi Hedren) »
↑ (en)« “He was a misogynist. (...) I think he had a whole lot of problems.” (Tippi Hedren) »
↑ (en)« “That man was physically so unattractive. I think to have a mind that thought of himself as an attractive, romantic man and then to wake up in the morning and look at that face and that body was tough.” (Tippi Hedren) »
↑ (en)« “That man was physically so unattractive.” (Tippi Hedren) »
↑ (en)« “I think he was an extremely sad character,” Hedren said. “As I said in the beginning, we are dealing with a brain here that is unusual, genius, and evil, deviant almost to the point of dangerous because of the effect that he can have on people that are totally unsuspecting.” »
↑ (en)« While researching the life of Alfred Hitchcock for a possible biopic, Wall To Wall executive producer Leanne Klein came across the story of Hitchcock’s relationship with Tippi Hedren and promptly contacted Donald Spoto, Hitchcock’s foremost biographer, to see if he would support the idea and act as a consultant. As luck would have it, Spoto was preparing Spellbound by Beauty: Alfred Hitchcock and His Leading Ladies, the third volume in his trilogy of books about the director. »
↑ (en)« Spoto’s close relationship with Hedren bridged the gap, facilitating the filmmakers’ access to the actress and helping persuade her that her story would be told correctly. »
↑ (en)« “To have a movie made about you is pretty scary.” (Tippi Hedren) »
↑ (en)« Hughes made several trips to California to sit down with Hedren, costume supervisor Rita Riggs, “Marnie” actress Diane Baker and, of special importance, Jim Brown, Hitchcock’s first assistant director. Brown, who is portrayed in THE GIRL by Carl Beukes, gave his one and only interview to Hughes shortly before his death, offering an accurate first-hand account of the dynamics between the director and his star, which mirrored Hedren’s memories. »
↑ (en)« “He had always felt a bit guilty about his failure to protect Tippi better.” (Gwyneth Hughes) »
↑ (en)« Jarrold said Hitchcock's survivors, including his daughter, have not objected to the film -- but also haven't seen it. »
↑ (en)« “A meeting with Sienna was just absolutely fabulous. She came to the Shambala Preserve where I live and we had a couple of hours in order to talk. I wanted her to learn about my background and why this whole horrible situation happened with Alfred Hitchcock.” (Tippi Hedren) »
↑ (en)« “The thing that really bothered me is the director didn’t want to have any kind of meetings with me. I’m rather offended by that.” (Tippi Hedren) »
↑ (en)« “[Sienna] said that she was fearful that the director wasn’t letting her be as strong as I was during that time.” (Tippi Hedren) »
↑ (en)« “I’m apprehensive about seeing the film and a little bit nervous about it.” (Tippi Hedren) »
↑ (en)« “She (Sienna Miller), along with Toby and the rest of the cast, have brought such honesty to their portrayals. I am honored that they, Julian, Gwyneth and the producers took the care to tell my story with such accuracy and sensitivity.” (Tippi Hedren) »
↑ (en)« “But actually viewing the film, I have to say that when I first heard Toby's voice at Alfred Hitchcock, my body just froze.” (Tippi Hedren) »
↑ (en)« “I think Sienna did a great job – I couldn't have chosen a better actress to do it.” (Tippi Hedren) »
↑ (en)« There's only so much ground that can be covered in an hour-and-a-half retelling of those events. (...) “It wasn't a constant barrage of harassment to me. There were times of delight and joy, all kinds of different things. That is the problem with any film. It can't possibly have everything in it.” (Tippi Hedren) »
↑ (en)« “I hope that young women who see this film know that they do not have to acquiesce to anything that they do not feel is morally right, or that they are dissatisfied with, or simply want to get out of that situation.” (Tippi Hedren) »
↑ (en)« Mrs Brown told The Daily Telegraph she was “absolutely sure” that her late husband would not have endorsed the allegations of sexual harassment. (...) Her late husband agreed to speak to Hughes for what he believed would be an affectionate portrayal of Hitchcock. »
↑ (en)« Leanne Klein, executive producer on The Girl, said: “We regret that Nora Brown is unhappy about the film, but she has not actually seen it, having declined our offers of a pre-release viewing.” »
↑ (en)« Nora's words are supported by taped interviews with Jim Brown for two books on the making of The Birds and Marnie. “Some of the things that are expressed about him are highly over exaggerated,” said Jim. “I think Hitch became upset because he thought Tippi wasn't fulfilling the star quality that he thought she had or was looking for.” »
↑ (en)« Surviving Assistant Director on Marnie Hilton Green agrees; “As far as any anxiety between the two, I didn't see anything. Marnie was a very strenuous part for Tippi to play. Hitchcock liked to test his actors, he was very good at things like that and he gave her a lot of direction because she needed it.” »
↑ (en)« “I find some of the allegations hard to believe. (...) She's a lovely woman, but I don't think Tippi should have said those things about Hitch. If you have some guy come on to you, and it happens all the time, a bright woman knows how to deal with it. Because she was so ambitious and dependent on Hitch she didn't dare to say what are you doing? But I wasn't aware of her being hassled on the set.” (Louise Latham) »
↑ (en)« “Some I think it’s unfortunate when someone’s no longer around and can’t defend themselves.” (Kim Novak) »
↑ (en)« “I think it's gotten a little more exaggerated over the years. And I do think it's grown larger and larger in her mind. She is convinced that Hitchcock ruined her career because he had her under contract and wouldn't let her do anything else after Marnie. But I don't think she was that good in Marnie. I think she's a lovely person and a really good heart. Tippi was a look. You watch that movie, and who is fabulous, is Jessica Tandy.” (Veronica Cartwright) »

Références

↑ ^{a b c d e f et g} Maïlys Gelin, « Tippi Hedren, la femme qui osa dire non à Alfred Hitchcock », sur Profession Audio|Visuel, 19 janvier 2022.
↑ ^{a et b} (en) Euan Kerr, « Tippi Hedren comes home »^{(Archive.org • Wikiwix • Archive.is • Google • Que faire ?)}, sur MPR News, 7 mars 2012.
↑ ^{a b c et d} (en) « Tippi Hedren – Biography », sur IMDb.com.
↑ (en) « Scandinavian-American Hall Of Fame - Tippi Hedren », sur Norsk Hostfest.
↑ (en) « Spellbound by Tippi Hedren, Hitchcock's Final Blonde », sur Knightatthemovies.com.
↑ Louis Paul 2007, p. 82-83
↑ Louis Paul 2007, p. 82
↑ ^{a et b} (en) « Hitchcock Too Possessive, Demanding », Beaver County Times,‎ 23 juillet 1973 (lire en ligne).
↑ Vidéo diffusé lors de l'hommage à Tippi Hedren au cours de la 24^e cérémonie des Genesis Awards en 2010 et où l'on peut voir les couvertures desdits magazines.
↑ (en) [vidéo] Tippi Hedren Tribute sur Vimeo.
↑ Tony Lee Moral 2005, p. 15
↑ ^{a b c d e f g h i et j} (en) Interview de Tippi Hedren pour le documentaire All About "The Birds" (2000) de Laurent Bouzereau, disponible sur le DVD du film.
↑ (en) Deborah Arthurs, « 'Being the object of Alfred Hitchcock's obsession was horrific,' says The Birds star Tippi Hedren, 'but while he ruined my career, he could never ruin my life' », sur Daily Mail, 16 août 2012.
↑ ^{a b c d e f g et h} (en) Rosie Millard, « Hitchcock's girl », sur FT Magazine, 27 juillet 2012.
↑ ^{a b c d e et f} (en) Kyle B. Counts, « THE MAKING OF ALFRED HITCHCOCK'S THE BIRDS », sur The Hitchcock Wiki.
↑ ^{a b et c} (en) Fred Topel, « Hitchcock 'Was a Monster': Tippi Hedren and New HBO Film Reveal Hitch's Dark Side », sur Movieline, 6 août 2012.
↑ ^{a et b} (en) The Times, « Tippi Hedren: Alfred Hitchcock tried to destroy my career », sur The Hitchcock Wiki, 11 septembre 2008.
↑ ^{a b et c} (en) Anita Chaudhuri, « The blonde queen of King Alfred », sur The Guardian, 6 août 1999.
↑ ^{a b c d e f et g} (en) Ruben V. Nepales, « Tippi Hedren reveals real horror of working with Hitchcock », sur Inquirer Entertainment, 11 août 2012.
↑ (en) Interview de Veronica Cartwright pour le documentaire All About "The Birds" (2000) de Laurent Bouzereau, disponible sur le DVD du film.
↑ https://www.parismatch.com/People/Dakota-Johnson-raconte-avec-emotion-les-abus-subis-par-sa-grand-mere-Tippi-Hedren-1769450
↑ ^{a et b} Donald Spoto 1983, p. 456
↑ ^{a b et c} (en) John Triggs, « THE PSYCHO AND HIS BLONDES », sur Daily Express, 27 mai 2008.
↑ (en) Mark Wallace, « Alfred Hitchcock and Tippi Hedren : A Tale of Obsession » sur Suite101.com, 15 mars 2011.
↑ https://www.lefigaro.fr/cinema/2016/11/21/03002-20161121ARTFIG00261-tippi-hedren-maintient-avoir-ete-sexuellement-agressee-par-alfred-hitchcock.php
↑ ^{a b et c} (en) John Beck, « The Girl after The Birds », sur Press Democrat, 1^er septembre 2012.
↑ (en) « Tippi Hedren - Tippi Hedren Stunned By Toby Jones' Hitchcock », sur Contact Music, 3 août 2012.
↑ ^{a b c et d} (en) Jeff Stafford, « The Birds / Articles », sur Turner Classic Movies.
↑ ^{a b c et d} (en) « TIPPI HEDREN », sur Shambala.
↑ ^{a et b} (fr) Mario Beunat, « Reportage sur le Festival de Cannes », sur ina.fr, 15 mai 1963.
↑ (en) Bosley Crowther, « The Birds (1963) Screen: 'The Birds': Hitchcock's Feathered Fiends Are Chilling », sur The New York Times, 1^er avril 1963.
↑ (en) Interview de Patricia Hitchcock pour le documentaire The Trouble with Marnie (2000) de Laurent Bouzereau, disponible sur le DVD du film.
↑ ^{a et b} Patrick McGilligan 2011, p. 807
↑ ^{a et b} Tony Lee Moral 2005, p. 14
↑ Tony Lee Moral 2005, p. 11
↑ Tony Lee Moral 2005, p. 110
↑ Tony Lee Moral 2005, p. 13
↑ (en) Interview de Joseph Stefano pour le documentaire The Trouble with Marnie (2000) de Laurent Bouzereau, disponible sur le DVD du film.
↑ (en) Interview de Evan Hunter pour le documentaire The Trouble with Marnie (2000) de Laurent Bouzereau, disponible sur le DVD du film.
↑ ^{a b c et d} (en) Interview de Tippi Hedren pour le documentaire The Trouble with Marnie (2000) de Laurent Bouzereau, disponible sur le DVD du film.
↑ ^{a et b} Tony Lee Moral 2005, p. 18
↑ ^{a et b} Tony Lee Moral 2005, p. 73
↑ Tony Lee Moral 2005, p. 108
↑ Tony Lee Moral 2005, p. 70
↑ Tony Lee Moral 2005, p. 71-72
↑ (en) Interview de Hilton A. Green pour le documentaire The Trouble with Marnie (2000) de Laurent Bouzereau, disponible sur le DVD du film.
↑ Donald Spoto 1983, p. 472
↑ Donald Spoto 2008, p. 182
↑ ^{a b c d et e} Tony Lee Moral 2005, p. 121
↑ (en) Michael Thorton, « Hitchcock the Psycho: As Birds star Tippi Hedren reveals he tried to destroy her when she spurned his advances, how all his blondes lived in fear of the sadistic director », sur Daily Mail, 22 mars 2012.
↑ John Russell Taylor 1996, p. 272
↑ (en) Mirror.co.uk, « "He was evil and deviant": Alfred Hitchcock made my life hell, claims actress Tippi Hedren », sur Mirror Online, 25 août 2012.
↑ Donald Spoto 1983, p. 475
↑ ^{a et b} Donald Spoto 2008, p. 187
↑ ^{a b et c} (en) Jeff Stafford, « Marnie / Articles », sur Turner Classic Movies.
↑ ^{a et b} (en) Eugene Archer, « Hitchcock's 'Marnie,' With Tippi Hedren and Sean Connery », sur The New York Times, 23 juillet 1964.
↑ Patrick McGilligan 2011, p. 838-839
↑ ^{a et b} (fr) « Accueil critique des films d'Alfred Hitchcock - Pas de printemps pour Marnie », sur La Cinémathèque Française.
↑ ^{a et b} (en) Scott Huver, « "The Girl" Reveals Hitchcock's Dark Designs On Tippi Hedren », sur NBCBayArea.com, 18 octobre 2012.
↑ (en) « Bedtime Story (1964) – Trivia », sur IMDb.com.
↑ (en) « Mirage (1965) – Trivia », sur IMDb.com.
↑ (en) « Fahrenheit 451 (1966) – Trivia », sur IMDb.com.
↑ (en) Interview de Tippi Hedren pour le documentaire Hitchcock: Alfred the Great (1994)
↑ (en) « Tippi Hedren », sur The New York Times.
↑ (en) Aaron Hicklin, « Ladies We Love: Tippi Hedren », sur Out Magazine, 18 mars 2011.
↑ (en) « Tippi Hedren Recalls Alfred Hitchcock's Harassment for HBO's 'The Girl' », sur The Hollywood Reporter, 2 août 2012.
↑ Louis Paul 2007, p. 85
↑ ^{a et b} Jerry Epstein 2012, p. 184
↑ (en) Patric McDonald, « Interviews: Christmas Stars Shine With Mickey Rooney, Ernest Borgnine, Tippi Hedren, Larry Hagman », sur hollywoodchicago.com, 24 décembre 2009.
↑ ^{a et b} (en) Bosley Crowther, « A Countess from Hong Kong », sur The New York Times, 17 mars 1967.
↑ ^{a et b} (en) « A Countess from Hong Kong », sur Variety, 31 décembre 1966.
↑ (en) Hal Boyle, « Tippi Acts for Hitchcock », 11 mai 1966.
↑ (en) « TIPPI HEDREN in A HATFUL OF RAIN », 3 juillet 1967.
↑ (en) Leon Worden, « SCV NEWSMAKER OF THE WEEK: Tippi Hedren », 6 mars 2005.
↑ (en) Marilyn Beck, « Hollywood Closeup », 28 juillet 1969.
↑ ^{a b et c} (en) Lori Golden, « Tippi Hedren », sur thepetpress-la.com, septembre 1999.
↑ (en) Carrie Frye, « How To Get Your Lion Back When It Runs Away: Life Lessons From Tippi Hedren », sur TheAwl.com, 19 octobre 2012.
↑ ^{a b et c} (en) « Roar (1981) - Trivia », sur IMDb.com.
↑ ^{a b et c} (en) Bill Bruzy, « She Thinks Like a Cat, Interview with actress and animal activist Tippi Hedren », sur Austinmenscenter.com.
↑ ^{a et b} Louis Paul 2007, p. 86
↑ (en) « Tippi Hedren », sur Roarthemovie.com.
↑ (en) « The making of Roar », sur Roarthemovie.com.
↑ (en) Connie Lauerman, « Tippi Hedren's New :'Family' Is Lions, Tigers », sur SunSentinel.com, 5 octobre 1995.
↑ (en) « 'Harrad' Film Isn't 'Another Dirty Movie' », 21 avril 1972.
↑ (en) Roger Greenspun, « The Harrad Experiment », sur The New York Times, 12 mai 1973.
↑ (en) Terry Hazlett, « 'The Harrad Experiment' Better Than Ads Indicate », 26 juin 1973.
↑ ^{a et b} (en) Randolph Sellars, « The Most Dangerous Movie Ever Made (Part 1) », sur RandolphSellars.com, 7 novembre 2011.
↑ (en) « Tippi Hedren Learns the Law of the Jungle: When An Elephant Decides to Ad Lib, Look Out », sur People, 11 juillet 1977.
↑ ^{a b c d et e} (en) « Roar (1981) – Trivia », sur IMDb.com.
↑ (en) Dorothy Manners, « Off the Grapevine : Morsels of gossip as reported by some of the nation's most talented listeners », 25 février 1975.
↑ ^{a et b} (en) Tia Gindick, « The Lion's Share of the Good Life : Tippi Trades Roar of the Greasepaint for the Real Thing », sur Los Angeles Times, 26 septembre 1985, p. 1.
↑ (en) « Greatest Box-Office Bombs, Disasters and Film Flops: The Most Notable Examples - 1981 ».
↑ (en) « Roar », sur Variety, 31 décembre 1980.
↑ Tippi Hedren et Theodore Taylor 1991, p. 259
↑ ^{a et b} (en) Tia Gindick, « The Lion's Share of the Good Life : Tippi Trades Roar of the Greasepaint for the Real Thing », sur Los Angeles Times, 26 septembre 1985, p. 2.
↑ (en) « In the Cold of the Night (1990) - Connections », sur IMDb.com.
↑ (en) John Martin, « 'Chicago Hope' revives Alfred Hitchcock », 21 janvier 1998.
↑ (en) « Psychodrama (1998) – Trivia », sur IMDb.com.
↑ ^{a et b} (en) Ann Green, « Retro : A Flock of Terror, Part II », sur Los Angeles Times, 13 mars 1994.
↑ (en) Liz Smith, « 'Nobody's Fool', the life of Danny Kaye », Newsday - Long Island, N.Y., 17 mars 1994.
↑ (en) Ken Tucker, « The Birds II: Land's End », sur Entertainment Weekly, 18 mars 1994.
↑ ^{a et b} (en) James Endrst, « Showtime's Hitchcock sequel strictly for the birds », 19 mars 1994.
↑ (en) Lynn Hoogenboom, « Revenge of the Birds », 19 mars 1994.
↑ (en) Ron Miller, « 'Birds' star runs wild animal refuge », 19 mars 1994.
↑ ^{a et b} (en) Briege McGarrity, « TIPPI HEDREN ».
↑ ^{a et b} (en) « Roughing It: An Interview with Tippi Hedren », 2 mai 2012.
↑ ^{a b c et d} Louis Paul 2007, p. 87
↑ ^{a et b} (en) James Brady, « In step with Tippi Hedren », 13 mars 1994.
↑ (en) Sharon Waxman, « The Nudist Buddhist Borderline-Abusive Love-In », sur The New York Times, 19 septembre 2004, p. 1.
↑ (en) « I Heart Huckabees (2004) – Trivia », sur IMDb.com.
↑ (en) Cinema Fanatic, « TCM CLASSIC FILM FESTIVAL 2012: TEA WITH TIPPI HEDREN », sur YAM Magazine], 26 avril 2012, p. 4.
↑ (en) Rob Christopher, « Bird Talk With Tippi Hedren », sur Chicagoist, 3 avril 2012.
↑ (en) Kylie Nin, « Tippi Hedren Saves "The 4400" Season Opener », sur Slice of SciFi], 6 juin 2006.
↑ (en) Kate O'Hare, « 'The 4400' Counts on Tippi Hedren », sur Zap2it], 9 juin 2006.
↑ (en) Rich Sands, « First Look: Batman, Superman and Wonder Woman Team Up on The Brave and the Bold », sur TV Guide], 3 octobre 2011.
↑ (en) Sarah Knight Adamson, « Interview with Tippi Hedren, star of “The Birds,” and Ben Mankiewicz, host of “Turner Classic Movies” », sur Triblocal.com], 4 avril 2012.
↑ (en) Andrew Pulver, « Berlin 2012: Jayne Mansfield's Car – review », sur The Guardian], 14 février 2012.
↑ (en) Tommy Lightfoot Garrett, « Iconic Star Tippi Hedren Spoke EXCLUSIVELY With Highlight Hollywood On: Appearing Before U.S. Congress Next Month, Working With Daughter Melanie On Fox’s ‘Raising Hope’ And Hitchcock », sur HighlightHollywood.com, 4 août 2012.
↑ (en) William Keck, « Keck's Exclusives First Look: Raising Hope Books Mom-Daughter Duo », sur TVGuide.com, 20 août 2012.
↑ ^{a et b} (en) Chris Neumer, « Tippi Hedren Interview #2 », sur Stumped Magazine.
↑ (en) Walter Srebnick, « HITCHCOCK FORUM - JOSEPH STEFANO, ARTHUR LAURENTS AND EVAN HUNTER TALK ABOUT WORKING WITH ALFRED HITCHCOCK. », sur EdMcBain.com, 23 septembre 2002.
↑ (en) « Marnie », sur Variety, 31 décembre 1963.
↑ Patrick McGilligan 2011, p. 826
↑ Walter Raubicheck et Walter Srebnick 2011, p. 118
↑ Steven C. Smith 1991, p. 253
↑ Laurent Bouzereau 2010, p. 75
↑ (en) « Pretensions of emancipation hobble Harrad Experiment », 28 juin 1973.
↑ ^{a et b} (en) « Tippi Hedren: Why I love being free as a bird », sur Belfast Telegraph Woman, 12 juin 2012.
↑ (en) Norman Jean Roy, « The 2008 Hollywood Portfolio - Hitchcock Classics : Jodie Foster », sur Vanity Fair, mars 2008.
↑ (en) Norman Jean Roy, « The 2008 Hollywood Portfolio - Hitchcock Classics : Naomi Watts », sur Vanity Fair, mars 2008.
↑ (en) Rebecca Murray, « Naomi Watts Talks About 'Funny Games' and 'The Birds' », sur Movies.about.com, 14 mars 2008, p. 3.
↑ (fr) Interview de Naomi Watts par Juliette Michaud pour Studio magazine, avril 2008, n° 245, p. 112.
↑ (en) Graham Fuller, « Naomi Watts: Three Continents Later, An Outsider Actress Finds Her Place », sur Lynchnet.com, novembre 2001.
↑ (en) Geoff Andrew, « Guardian/NFT interview: Catherine Deneuve », sur The Guardian, 21 septembre 2005.
↑ (en) « Assets Nothing To Squawk About », 25 mars 1982.
↑ (en) [vidéo] « Festival Talk Melanie Griffith im Gasteig Teil 2 / Pt 2 @ Filmfest München 2012 », sur YouTube.
↑ (en) Tony Kornheiser, « Tippi Hedren finds Grace Kelly image was for the birds », 11 septembre 1979.
↑ (en) The Times, « The Times (05/Apr/2005) - The birds attacked me but Hitch was scarier », 5 avril 2005.
↑ ^{a b c d et e} (en) Andrew Goldman, « The Revenge of Alfred Hitchcock’s Muse », sur The New York Times, 5 octobre 2012.
↑ ^{a b et c} (en) Sara Bibel, « HBO Films' 'The Girl' Debuts October 20 », 1^er octobre 2012.
↑ ^{a b c d et e} (en) Perri Nemiroff, « Tippi Hedren Admits She's Apprehensive About The Birds Movie With Sienna Miller », sur Cinemablend.com, 21 avril 2012.
↑ (en) [vidéo] « Gwyneth Hughes and Julian Jarrold on The Girl », sur YouTube.
↑ (en) Tim Molloy, « Tippi Hedren on Hitchcock: 'Genius and Evil and Deviant, Almost to the Point of Dangerous' », sur TheWrap.com.
↑ ^{a b et c} (en) Alex Strachan, « Film tells Hedren's grim tale », sur LeaderPost.com, 17 octobre 2012.
↑ ^{a et b} (en) Anita Singh, « Alfred Hitchcock drama The Girl sparks angry backlash », sur The Telegraph, 22 octobre 2012.
↑ ^{a b c et d} (en) Tony Lee Moral, « Hitchcock's Co-workers Defend the Director Against The Girl », sur The Huffington Post, 27 décembre 2012.
↑ (fr) Interview de Kim Novak par Gregory Aujol pour l'émission Grand Public du 1^er novembre 2012.
↑ (en) Richard Rushfield, « Kim Novak tells all », sur The Telegraph, 8 octobre 2012.
↑ Jean Talabot, « Selon sa muse Tippi Hedren, Alfred Hitchcock l'aurait agressée sexuellement », sur lefigaro.fr, 31 octobre 2016.
↑ Elena Scappaticci, Jean Talabot, « Tippi Hedren accuse encore Alfred Hitchcock d'agression sexuelle », sur lefigaro.fr, 22 novembre 2016.
↑ « Tippi Hedren » sur julesvernefestival.com.

Annexes

Bibliographie

(en) Donald Spoto, The Dark Side of a Genius : The Life of Alfred Hitchcock, Collins, 1983, 594 p. (ISBN 0-00-216352-7).
(en) Steven C. Smith, A Heart at Fire's Center : The Life and Music of Bernard Herrmann, Berkeley/Los Angeles/Oxford, University of California Pres, 1991, 400 p. (ISBN 0-520-07123-9).
(en) John Russell Taylor, Hitch : The Life And Times And Alfred Hitchcock, Da Capo Press, 1996, 342 p. (ISBN 0-9631549-0-7).
(en) Tony Lee Moral, Hitchcock and the Making of Marnie, Lanham, Md., Scarecrow Press, 2005, 256 p. (ISBN 0-8108-5684-0).
(en) Louis Paul, Tales from the Cult Film Trenches : Interviews with 36 Actors from Horror, Science Fiction and Exploitation Cinema, McFarland, 2007, 336 p. (ISBN 978-0-7864-2994-3 et 0-7864-2994-1, lire en ligne).
(en) Donald Spoto, Spellbound by Beauty : Alfred Hitchcock and His Leading Ladies, Crown Archetype, 2008, 352 p. (ISBN 978-0-307-35130-2 et 0-307-35130-0).
(en) Walter Raubicheck et Walter Srebnick, Scripting Hitchcock : Psycho, The Birds, and Marnie, University of Illinois Press, 2001, 160 p. (ISBN 0-252-07824-1).
Laurent Bouzereau, Hitchcock, pièces à conviction, Éditions de la Martinière, 2010, 169 p. (ISBN 978-2-7324-4122-1 et 2-7324-4122-8).
Patrick McGilligan, Alfred Hitchcock : une vie d'ombres et de lumière, Actes Sud, 2011, 1127 p. (ISBN 978-2-7427-9540-6 et 2-7427-9540-5).
Jerry Epstein, Charlie Chaplin : portrait inédit d'un poète vagabond, Gremese International, 2012, 219 p. (ISBN 978-2-36677-006-3 et 2-36677-006-5).
Hélène Frappat, Trois femmes disparaissent, Actes Sud, 2023.

Filmographie

2012 : The Girl, téléfilm dramatique de Julian Jarrold sur Tippi Hedren
2021 : L'Actrice Tippi Hedren : des oiseaux maudits aux bêtes sauvages, documentaire de Marita Neher

Liens externes

Ressources relatives à l'audiovisuel :
Ressource relative à la musique :
- Discogs
Notices dans des dictionnaires ou encyclopédies généralistes :
Notices d'autorité :
- VIAF
- ISNI
- BnF (données)
- IdRef
- LCCN
- GND
- Pays-Bas
- Israël
- Catalogne
- Australie
- Norvège
- Tchéquie
- WorldCat
(en) Site officiel de la réserve animalière The Shambala Preserve

[2] (en)« “I lived in the little town of Lafayette. But Lafayette was so small it didn't have a hospital that I had to go to New Ulm to be born. But I never lived in New Ulm.” (Tippi Hedren) »

[4] (en)« Her store owner father, Bernard, was Swedish and her school teacher mother, Dorathea, was German-Norwegian. »

[6] (en)« Hedren credits her parents' Swedish-Lutheran background and Midwest upbringing in New Ulm, Minn., for giving her the strength to survive such an abusive relationship. “They gave me a good basis of moral standing of what's right and wrong -- and you don't let the wrong happen,” she said. “Those things have served me well. I fear very little. That film made me think more of my upbringing and the strength that I got.” »

[8] (en)« “My father was Swedish and my baptismal name is Nathalie but I guess my daddy thought that was a little much for a little tiny baby so he started calling me “tupsa.” That’s sort of like calling a little girl “sweetheart” or “honeybunch” or one of those sweet little terms and as the years went by it went from “tupsa” to “tiffs” to “tippi.”.” (Tippi Hedren) »

[10] (en)« “All of my life prior to that time, I had wanted to be an ice skater. I worked so hard too, with the figure skating. My parents did not have enough money to send me to classes so I would go and watch my friends when they took their classes. There were lakes all over Minneapolis where I grew up, so I would practice out there. Then I had to have an operation on my foot (...) The following year, I had to have another operation, and so my skating career rather went by the boards.” (Tippi Hedren) »

[12] (en)« “One day, I stepped off a streetcar on my way home from school; this was when I was around fourteen years old. A woman handed me her card and said, “Would you ask your mother to bring you down to Donaldson's department store, where I would like to have you model in our Saturday morning fashion shows?” Therefore, we did that.” (Tippi Hedren) »

[14] (en)« Armed with nothing more than self-confidence, she telephoned Eileen Ford, head of the forcible Ford Model Agency in New York. “It was on Thursday and she told me to be in her office on Monday morning - 9 sharp,” says Tippi, who took the next train East. The meeting clicked into instant success. “The next day I was getting $35-an-hour as a photographic model,” says Tippi about her overnight success. »

[18] (en)« Hedren rented a three-bedroom house in Sherman Oaks for $500 a month, hoping to continue the successful modeling career that she had enjoyed in New York. It didn't really happen for her, but Hedren possessed a great deal of self-confidence, so adapted her modeling to include commercials. »

[20] (en)« “I had been modelling in New York for a long time. It was about 11 years. And my career was sort of waning in that fashion business. I had done a number of commercials, and at one point I had about 12 of them going, and one of them ran on The Today Show every morning for about a month. And apparently, a producer/director was watching the show and decided to find out who the girl was, where she was, and all of that. So I received a call on Friday, the 13th of October of 1961. It was, “Are you the girl in the Sego commercial?" – it was a diet product. And I said, “Yes.” And they said, “Would you come over to Universal Studios?” I did, and I met with an executive there. I asked, who is the director, and he wouldn't tell me. And then he asked if I would leave my photographs and commercial film over the weekend. So I said, “Yes, but I will have to pick them up on Monday.” (Tippi Hedren) »

[22] (en)« “I went over and met with Mr. Citron, and I sat down and he said, “I suppose you're a little bit curious as to who this director is.” I said, “Yes.” He said, “Alfred Hitchcock wants to sign you to a contract if you will agree with the terms.” (Tippi Hedren) »

[23] (en)« “I was under contract with Hitchcock before I even met him.” (Tippi Hedren) »

[25] (en)« When she discovered the mystery producer was Hitchcock, she was thrilled, thinking that perhaps he might want her to work on one of his television projects. “A contract would mean a salary for me to take care of my daughter. And from one of the most famous directors in the entire industry. What could possibly be wrong with that?” (Tippi Hedren) »

[27] (en)« “So Herman Citren and I went over to meet with Hitch, and we didn't talk about anything other than -- Oh, we talked about food, we talked about travel, we talked about wines. We didn't mention movies at all. Not at all.” (Tippi Hedren) »

[28] (en)« Like many of Hitchcock's previous leading ladies Madeleine Carroll, Grace Kelly and Kim Novak. Hedren was a statuesque blonde with a cool, sophisticated manner. “Hitch always liked women who behaved like well-bred ladies,” explained Robert Boyle. “Tippi generated that quality. He was quite taken by the way she walked.” »

[30] (en)« “They talked about doing a screen test, and they chose three different roles for me to play in this screen test -- one from Rebecca, one from Notorious and one from To Catch a Thief. Now, the se are three entirely different women. And Hitch was my drama coach, and I would go over to the Hitchcock home where Alma and Hitch would both go over the scenes with me, which was fantastic. (...) In order to do the screen test, we needed a leading man and Hitch flew Martin Balsam out from New York to be my leading man.” (Tippi Hedren) »

[31] (en)« “I hadn't had any acting experience except in commercials. You get a good technical background for that sort of thing. But to break down a script, to delve into how you become another character, the relationship of different characters in the film was something that I didn't know how to do, and of course, it was perfect to have someone as brilliant a genius as Alfred Hitchcock being my drama coach.” (Tippi Hedren) »

[33] (en)« Finally, four months later, Hedren was invited to lunch with Hitchcock, his wife, Alma, and Lew Wassermann, head of Universal. »

[34] (en)« “Hitch placed a very, very beautifully wrapped package from Gumps in San Francisco. It was one of his favorite shops. And I opened the box and there was this beautiful pin of three birds in flight, with the seed pearls and gold, and I looked over at Hitch, and he said, “We want you to play Melanie in The Birds.”” (Tippi Hedren) »

[35] (en)« “I was so stunned. It never occurred to me that I would be given a leading role in a major motion picture.” (Tippi Hedren) »

[36] (en)« Hitchcock's “guidance” even extended to personally selecting the jewelry Hedren wears in the film: one good bracelet, a ring and a single strand of baby pearls. “Hitchcock has a fondness for simple and elegant things like scarves and mink coats,” said Oscar-winning designer Edith Head, “so these things also became a part of her wardrobe.” Hitchcock felt there was something about Tippi that suggested a certain withdrawal, a chaste, cool quality, thus Head created the soft green suit Melanie wears throughout most of the film. »

[37] (en)« Hitch was both her director and her drama coach, she says. “He was thrilled that I hadn’t had any acting training; I didn’t have to unlearn anything.” (Tippi Hedren) »

[39] (en)« “I probably learned in three years what it would have taken me 15 years to learn otherwise,” said Hedren, who sat in on meetings concerning all phases of the production. »

[40] (en)« Hitchcock saw a parallel between Melanie and the Tallulah Bankhead character in LIFEBOAT as “starting out as a jaded sophisticate and becoming more natural and humane in the course of her physical ordeal.” »

[41] (en)« At the start, filming The Birds was “wonderful”. »

[42] (en)« “I was only allowed one half-day off during six months of filming.” (Tippi Hedren) »

[44] (en)« “They had, supposedly, shatter proof glass in there. And the seagull comes and hits the phone booth -- They had the seagull on the wire, and it was a fake bird, of course. And the bird comes down, hits the glass, and the glass shattered and got all over my face. It was pretty scary. And we spent the afternoon taking little tiny bits of glass away from my skin.” (Tippi Hedren) »

[45] (en)« Tippi still vividly remembers the real horror of shooting the attic scene in “The Birds.” “I remember it well,” she stressed. “When I first read the script, I said, ‘Mr. Hitchcock, why would I go upstairs? First of all, after knowing what happened to everybody in town, the children and all the farmers?’ He said, ‘Because I tell you to.’ Well, that was fine.” »

[47] (en)« “But, the second question I asked was, ‘How would we be doing the filming of those birds when they start to attack me? He said, ‘We’ll use mechanical birds like we do with the children.’” »

[48] (en)« “They told me -- Hitch always told me for the entire filming -- that we were going to use mechanical birds for that scene. I said, “Fine. Don't have anything to worry about.” It was on a Monday morning that we were going to start the scene, and Jim Brown, the assistant director, came into my dressing room on the set. And we'd known each other for a long time. And he couldn't look at me. He looked at the floor, he looked at the walls, he looked at the ceiling. I said, “What's the matter with you?” And he said, “We can't use the mechanical birds. They don't work.” And out the door he went. And I just blanched white because I had seen the bird trainers with their leather gauntlets up to their shoulders, and scratches that they had from the birds. And I walked out onto the set, and there was never an intention of using mechanical birds. They had a cage built around the set so the birds wouldn't be up in the rafters for the remainder of the shoot. And there were three boxes, great big cartons, of ravens and seagulls. And prop men, with their leather gauntlets, hurled birds at me for five days.” (Tippi Hedren) »

[49] (en)« After two days of shooting, the strain began to show. “By Wednesday of the shooting week, I was tired,” Hedren sighed. “By Thursday, I was noticeably nervous.” »

[50] (en)« “That Wednesday, Cary Grant came onto the set to see Hitch, and he walked over to me and he said, “I think you're the bravest lady I've ever met.”” (Tippi Hedren) »

[51] (en)« “By Friday they had me on the floor. You know, 'cause I'd just crumpled from sheer exhaustion as the character is being hurt. And Rita Riggs, who was my dresser -- who became a wonderful designer -- she had put cloth bands around my body with little elastics -- two little elastics -- sticking out everywhere. Then we put the dress on, and with the holes in the dress, she would pull the elastics through, and then they would tie the foot of the bird to me, and, uh -- Friday, I was that way all day, and one of the birds decided to move from my shoulder up on to my -- It just jumped, and scratched me very close to my eye, and I said, “That's enough!” And I got them all off of me. And I just sat in the middle of the stage and cried. I mean, I was just totally exhausted. And everybody left. Sort of left me there!” (Tippi Hedren) »

[52] (en)« “I don't remember the weekend, and, I don't remember driving to the studio the following Monday. I got into my dressing room -- beautiful dressing room -- and laid down on the couch, and my makeup man, Howard Smit, came, uh, to get me, you know, for makeup, and, uh, he couldn't wake me. I was just out. I mean, just out. Just totally exhausted.” (Tippi Hedren) »

[53] (en)« “It was a nightmare! I ended up in a doctor’s care for a week. Hitchcock said, ‘She can’t rest for a week. We have nobody else to film.’ The doctor said, ‘What are you trying to do, kill her?’ I didn’t hear Hitchcock’s answer.” »

[54] (en)« “So the scene, actually, when he brings her down the stairs, that was a double because Tippi was in the hospital from exhaustion. So he carries this other lady down the stairs. And then I'm sure he went back later and did insert shots of her face.” (Veronica Cartwright) »

[56] (en)« “I then considered the possibility that maybe this was one of the reasons why Hitchcock had chosen an unknown for the part. There was an element of danger in it, since the birds were not all nice guys.” (Tippi Hedren) »

[58] (en)« Hitchcock decreed, in every connection with Alfred Hitchcock and his films, the name was to appear enclosed in single quotation marks : 'Tippi' Hedren. It was the first gentle move of proprietorship. »

[60] (en)« Then he brought in two members of his crew and asked them to keep careful watch on the activities of Miss Hedren when she left the set - where whe went, who she visited, how she spent her free time. »

[61] (en)« “He was developing this obsession and I began to feel uncomfortable because I had no control. I had to be very careful. He tried to control everything: what I wore, ate and drank.” (Tippi Hedren) »

[63] (en)« He sent her gifts: flowers, jewellery, wine, and could be seen staring intently at her on set. »

[66] (en)« During filming of The Birds two years earlier, Hitchcock had banned any of the other cast and crew from talking to her and, on one occasion, had attempted to grab and violently kiss her in the back of a car as they drove on to the set. »

[67] (en)« “Little by little, no one was permitted to come close to her during the production. ‘Don’t touch the girl after I call cut!’ he said to me repeatedly.” (Rod Taylor) »

[68] (en)« “He just kept staring at me, watching me all the time. It was a little unsettling, on the set or wherever.” (Tippi Hedren) »

[70] (en)« “While we were doing The Birds - because this manifestation happened during the latter part of filming The Birds - I remember Suzanne Pleshette saying to me, because I was a newcomer in the business; she said, 'It isn't always like this.'” (Tippi Hedren) »

[72] (en)« Despite a shrewd ad campaign topped by the amusing tag line - “The Birds is Coming.” »

[74] (en)« After a few weeks of filming The Birds with Rod Taylor, director Alfred Hitchcock told Associated Press reporter Bob Thomas, “Tippi Hedren is really remarkable. She's already reaching the lows and highs of terror”. »

[76] (en)« “Tippi has a faster tempo, city glibness, more humor [than Grace Kelly].” (Alfred Hitchcock) »

[78] (en)« “Making a terrifying menace out of what is assumed to be one of nature's most innocent creatures and one of man's most melodious friends, Mr. Hitchcock and his associates have constructed a horror film that should raise the hackles on the most courageous and put goose-pimples on the toughest hide.” »

[80] (en)« The New Yorker called the film a “sorry failure.” »

[81] (en)« Time accused it of “silly plot boiling.” »

[82] (en)« Newsweek wrote that the central premise was “inexpertly handled.” »

[83] (en)« “My mother and father were very close friends of Princess Grace and Prince Rainier. And when my father found this story, Marnie, they went over, and they talked to Grace, and she loved the story and really was prepared to come back.” (Patricia Hitchcock) »

[85] (fr)« Bien qu'opposé pendant des années au retour de sa femme au cinéma, Rainier était fréquemment cité comme ayant déclaré qu'il tiendrait compagnie à la princesse pendant le tournage. Selon un biographe de Grace Kelly, Rainier, “soucieux de la santé mentale de sa femme et encouragé par son affection et son respect pour Alfred Hitchcock”, approuva Marnie. »

[87] (fr)« Ainsi, il jeta de l'huile sur le feu en accordant une interview exclusive à Peter Evans, journaliste londonien du Daily Express, pendant le tournage des Oiseaux, célébrant le sex-appeal de Kelly comme « le plus merveilleux du monde ». Dans un flot de lettres et de pétitions, les Monégasques protestèrent contre la perspective de voir leur princesse dans des scènes d'amour hollywoodiennes - voire le genre de quasi-viol représenté dans Marnie. »

[88] (en)« President Charles de Gaulle was irritated over Monaco's free and easy tax system which included no income or corporation taxes. »

[90] (en)« Metro Godlyn Mayer claimed that their contract with Kelly was merely suspended and not canceled when she left Hollywood in 1956; therefore, could only make films for them. On March 23, Joseph R. Vogel, an MGM representative, sent a letter to Hitchcock pointing out that since Kelly's contract had not lapsed with the studio, they should have participation in the film. »

[92] (en)« In the process, Grace Kelly had no choice but to abandon the cinema definitely. »

[93] (en)« “It was heartbreaking for me to have to leave the picture.” »

[95] (en)« Stefano tried to persuade Hitchcock from shelving the project by suggesting that he could name five actresses who would be sensational in the title role: “I thought of Eva Marie Saint. I thought that she would have been even deeper than Kelly.” »

[97] (en)« “He was very, very disappointed, and I tried to suggest other actresses. I said, you know, I could name ten right now who could play Marnie. And he said, "No." It was over. So, I went away and did other stuff, and he went on and did The Birds. And then by the time he had done The Birds and decided that Tippi Hedren could do Marnie, I had created a television show -- The Outer Limits. I was producing it and not available.” (Joseph Stefano) »

[99] (en)« “There's a scene in the book and in the movie when the Mark Rutland character is on his honeymoon with Marnie, who is frigid. And he is approaching her to make love to her, and she backs away and is cowering and trembling and really shaking in fear, and he rapes her. (...) knew every woman in the audience would hate him... Sean Connery or whoever... Rock Hudson. They'd hate him if he raped this woman. And he disagreed with me entirely. He totally disagreed when we finally got this out in the open. (...) And I got fired a couple days later.” (Evan Hunter) »

[101] (en)« “All during the time that we were filming The Birds, I was aware that Marnie was being written by Jay Presson Allen and Grace Kelly was going to play the part. And I remember doing the scene with Rod Taylor up on the hill. It was during that scene that I was told that I was going to do Marnie.” (Tippi Hedren) »

[103] (en)« “I was stunned. I was amazed that he would offer me this incredible role and that he would have that kind of faith in me. (...) I thought Marnie was an extremely interesting role to play and a once-in-a-lifetime opportunity.” (Tippi Hedren) »

[105] (en)« “Hitchcock was the sole reason that I could have done that character... was that the discussions that we had. I sat with him and with Jay Presson Allen when they were writing, and often and we would talk about the character.” (Tippi Hedren) »

[106] (en)« For Tippi Hedren, reading the novel was very enlightening because the thought processes in Marnie's head highlighted her as a sad, devious, complex, and tragic woman. Hedren had attended conferences with Hitchcock and Jay Presson Allen when they were writing the script. »

[108] (en)« With Tippi Hedren, however, as the story conferences testify, he rehearsed every look and every word prior to filming. With the other actors, he allowed them their own interpretation, but Hedren gained his full attention. »

[110] (en)« “I consider my acting, while not necessarily being method acting, but one that draws upon my own feelings.” (Tippi Hedren) »

[111] (en)« “I studied Marnie at great length through the book. I talked to psychiatrists about her, just to get kind of an idea just how this would manifest itself into a later life.” (Tippi Hedren) »

[112] (en)« “She was such a complicated, sad, tragic woman.” (Tippi Hedren) »

[113] (en)« Why did she go back to make another Hitchcock movie, the darkly suggestive Marnie, where Hedren plays a compulsive thief alongside Sean Connery? “Because I was under contract,” she says. »

[114] (en)« “Sean Connery had just come out of Dr. No, and that's who he chose. And when I heard about it I said, “Hitch, how could you do this?” I mean, here... You know, the Marnie character... is totally against all men. I mean, screams if one of them comes near her. I mean, I don't care how much of a man-hater you are, or how negatively you feel about men, you take one look at Sean Connery, and I mean, oh, come on, Hitch. “How am I going... How am I going to do this part?” He said, “It's called acting, my dear.” Which was great. That was the answer.” (Tippi Hedren) »

[115] (en)« Crucial to Marnie's duplicitous personalities and metamorphosis from demure secretary to mainline society hostess were the hairstyles created for her character. »

[117] (en)« On november 11, Hitchcock wrote a letter to Alexandre: “I would like to express my appreciation of the hairstyles which you have designed for Miss Tippi Hedren who will star in my forthcoming motion picture Marnie. I am extremely pleased with them and know that they will be a great asset to my picture.” »

[119] (en)« Hedren had just become engaged to her agent Noel Marshall, an event that displeased Hitchcock. The director was of the old school of thought, telling Hedren that she, and actors in general, should not get married but remain committed to their craft. »

[120] (en)« “I remember very clearly that we were supposed to start shooting on a Monday. And that Friday, President Kennedy was assassinated. And, um, it threw... there was a national holiday of mourning on Monday, so we had to push back shooting.” (Hilton A. Green) »

[122] (en)« “You were in the living room of my house in Santa Cruz, and there was a rainbow, a glow around you. You came right up to me and said, ʻHitch, I love you -- Iʼll always love you,ʼ and we embraced. Donʼt you understand that youʼre everything Iʼve ever dreamed about?” “But it was a dream, Hitch,” objected Hedren. “Just a dream.” »

[124] (en)« “Nothing could have been more horrible for me than to arrive on that movie set and to see her being treated the way she was.” (Diane Baker) »

[126] (en)« “It was difficult being in the middle between Hitch and Tippi. Here the leading actress was leaving a contract. As far as a falling out, there was definitely a change in their relationship. Hitch enjoyed his long lunches with the best red wine; he was a connoisseur of both good wine and good food. Of course, I never ate much lunch normally, but I was invited along with several others to join him in his bungalow where these extraordinary lunches were catered, but I couldn’t drink during the filming and never will. The conversations were stimulating, often with the creative team. But Tippi was never there, which made me uncomfortable. I felt he was uncomfortable. I felt he was ignoring Tippi and bringing me in to replace her. I was thrilled on the one hand to be included in this special world, but I was afraid of falling under his control.” (Diane Baker) »

[128] (en)« “Once when Tippi was nearby, Hitch was talking to me, with respect and warmth, then he said something unkind about her which was meant to hurt her.” (...) The actress found herself retaliating in the only way she knew how. Baker confronted the director: “Mr. Hitchcock, if you are saying these things about Tippi, I’m wondering what you’re saying behind my back?” To which Hitchcock replied, ‘Oh, I would never say anything against you. I would never to do that to you.’” (Diane Baker) »

[129] (en)« “I was determined not to engage in this backbiting. (...) One of the studio people took me to lunch one day and saw that I was disturbed, with the result that whatever I said during that lunch was reported back to Hitchcock, so that he knew that I was upset. The tension did get so great, one day just before Christmas I was sick.” (Diane Baker) »

[130] (en)« After their second film together — the psychological thriller Marnie, in which she starred opposite Sean Connery — Hedren was nominated for the Photoplay Award as the most promising new actress of the year. She asked Hitchcock’s permission to travel to New York to appear on The Tonight Show, where the award was to be presented. But Hitchcock could not bear the prospect of her departure, even for two days. He abruptly refused permission for her to go, telephoning the network on her behalf to reject the award and cancel her appearance. (...) But that day, unable to contain herself any longer, all the pent-up emotion poured forth as she exploded, screaming at Hitchcock and allegedly calling him ‘a fat pig’ in front of the assembled crew on the set. (...) From that moment, he brutally excised her from his life, threatening to ruin her career and declining even to address her personally, except through intermediaries. He never again uttered her name, referring to her only as ‘that girl’. »

[132] (en)« “She did what no one is permitted to do. She referred to my weight.” (Alfred Hitchcock) »

[134] (en)« Hedren maintained a dignified discretion despite the turbulent undercurrents during filming. When she spoke to Allen on one occasion about the tension, the screenwriter advised her to finish the film and then get on with her life and be happy. »

[135] (en)« Virginia Darcy also tried to intervene, telling Hitchcock not to be possessive: “Hitch was a romantic, and he got the romance in his life through his films. Marnie was a very difficult job for him and it took its toll. He put himself in the leading man's role was possessive on his leading ladies. Tippi felt rightly that she was not his property, but he'd say, 'You are, I have acontract.' She didn't know his ways. Tippi was from New York, and the modeling scene there is very different to Hollywood.” »

[136] (en)« “Alma was an enigma to everyone. Nobody could understand what their relationship was. At one point she came up to me and said, ‘Tippi, I’m so sorry you have to go through this.’ I looked at her and said, ‘But you could stop it,’ and she just kind of glazed over, turned and walked away.” (Tippi Hedren) »

[138] (en)« After rebuffing him, “I became an expert in ways to not be alone with him.” (Tippi Hedren) »

[139] (en)« Alone with Hedren in her trailer after the day's work, he made an overt sexual proposition that she could neither ignore nor answer casually, as she could his previous gestures. »

[141] (en)« “Hitch called me into his office on the set. He stared at me and simply said, as if it was the most natural thing in the world, that from this time on, he expected me to make myself sexually available and accessible to him – however and whenever and wherever he wanted.” (Tippi Hedren) »

[143] (en)« The actress was appalled and humiliated. »

[145] (en)« “He made these demands on me, and no way could I acquiesce to them.” (Tippi Hedren) »

[146] (en)« “That was the moment, after almost three years of trying to cope, when I finally had enough – that was the limit, that was the end.” (Tippi Hedren) »

[147] (en)« “All I wanted to do was to get out of the horrible situation.” (Tippi Hedren) »

[148] (en)« “Those were the big studio days and there was no one I could go to. The ‘sexual abuse’ thing did not exist at that time. I never told my parents because they would have been destroyed.” (Tippi Hedren) »

[149] (en)« “Alfred Hitchcock's "Marnie" is at once a fascinating study of a sexual relationship and the master's most disappointing film in years.” »

[152] (fr)« Marnie est un film ennuyeux, geignard, sans mystère, sans malice et sans humour. »

[153] (fr)« Cette laborieuse histoire de traumatisme infantile distille un profond ennui. »

[154] (fr)« Ce qu’Hitchcock a su rendre palpitant, passionnant et insolite, c’est tout le climat du film : succession de longs moments angoissants comme dans Vertigo (...) Quand un divertissement atteint cette qualité, le cinéma n’est plus seulement un spectacle qui vous rend passif : Marnie est un film qui excite l’esprit et taquine les nerfs. »

[155] (fr)« Marnie est sans doute à ce jour le plus beau film d’Alfred Hitchcock. »

[157] (en)« Indeed, the terms of her contract allowed Hitchcock the power to approve any offers that came her way – or more specifically, disapprove. »

[159] (en)« Originally, Tippi Hedren was supposed to play Janet Walker, but Alfred Hitchcock told Ralph Levy she was not available. »

[161] (en)« Director Edward Dmytryk originally wanted to cast Tippi Hedren in the part of Shela, but Hedren was under a personal contract with Alfred Hitchcock who told Dmytryk she was not available. Diane Baker, who had played opposite Hedren in Hitchcock's Marnie, took over the role. »

[163] (en)« Truffaut originally wanted Tippi Hedren and Jean Seberg to play the parts of Linda Montag and Clarisse. However, Alfred Hitchcock told Truffaut that Hedren was not available to work with him, and Seberg was considered "not bankable enough" by the producers, so Julie Christie was cast instead in both parts. »

[165] (en)« Directors, including François Truffaut, came knocking. They were all sent away. Hitchcock informed them that Hedren, the hottest actress in Hollywood, was “not available” for work. »

[166] (en)« “There was never a question of us working together again. It was just a very definite cut off. And it was by me. I am totally responsible for it.” (Tippi Hedren) »

[168] (en)« Hedren was under contract not to Hitchcock but to his home studio of Universal; thus, she was obliged to appear in a 1963 Kraft Suspense Theatre episode. »

[170] (en)« Hitchcock eventually gave her contract to Universal, who let her go after she declined to be in a TV Western, but the momentum of those first two movies had evaporated. »

[172] (en)« His fixation on Hedren, which prompted unwanted sexual advances, refusing to let her out of her contract and ultimately blacklisting her. »

[174] (en)« “I had just gotten out of my contract with Hitchcock. Charlie Chaplin called and asked if I wanted to be in this film, which was his last. So of course, I said .“Yes, would you please send me a script?” However, they did not send any scripts out, because Charlie did not want anyone reading it, and reporting it to the press or whatever. Therefore, Marlon and I both accepted the film without reading the script. We were just told over the phone what the characters were like, what the relationships to the people were like, all of that, as much as they could tell us, verbally. Of course I thought, how could I not accept this wonderful role, what a gift it was, and Marlon felt the same way. When I got to England, I went right from the airport to the set, because I was so excited about meeting everyone. I was joyous getting to know everybody. I talked to everyone, and I said, “May I have a script?” and they handed me the script and everybody left the stage. I had been told I was going to play the part of Martha, Marlon Brando's wife, and that he was playing the ambassador, that our relationship was in very, very bad straits, and that I would come in, oh, halfway through the script. Therefore, I sat down with the script, and I was paging through it ad looking for Martha. I got halfway through and there was no Martha, and I got three-quarters of the way through and then appears Martha. Instead of being all the way through the remainder, she is in four scenes. I was a little bit upset about the whole thing, I mentioned this to Charlie, and he said, “Why don't you come and have dinner with Oona and me?” (...) Therefore, I went to have dinner with Oona and Charlie, and during dinner I said, “Charlie, why didn't you just tell me it was a cameo? I would have done this film anyway.” Every actor in the world was asking if they could do this film, to just do a walk-on, without even being paid for it. When I said, “Why didn't you just tell me that it was cameo?” he said, “I didn't think you would come,” which was very sweet.” (Tippi Hedren) »

[176] (fr)« Tippi Hedren jouait un petit rôle comme ex-femme de Marlon. Nous étions désolés que le rôle ne soit pas plus important. Elle et son mari Noël Marshall demandèrent à Charlie s'il était possible de lui donner des scènes supplémentaires. Il essaya mais cela aurait gâché la construction du film. »

[178] (en)« “Working with Chaplin was very amusing and strange.” (Tippi Hedren) »

[179] (en)« “Charlie would act out all our roles for us, he would play my part, Sophia’s (Loren) part, Marlon Brando’s, his son Sydney. Then afterward he would say, ‘now you do it.’” (Tippi Hedren) »

[181] (fr)« Tippi était une vraie professionnelle, pondérée, avec une authentique gentillesse. J'aimais sa voix - guturale, sensuelle et musicale - et Charlie trouvait très facile de la diriger. Elle avait cette qualité qu'il aimait chez les actrices américaines - elle était très détendue. »

[182] (en)« The dismal truth is it is awful. »

[184] (en)« An old-fashioned bedroom farce. »

[186] (en)« Tippi Hedren has served on two masters in a brief, spectacular film career. »

[187] (en)« “Working for Hitch and Charlie has been very special to me, and now I'm going to wait for something special to come along.” (Tippi Hedren) »

[189] (en)« The glamorous star of The Birds, Marnie and The Countess from Hong Kong, now comes to Saskatoon to give a memorable and moving stage performance in a play hailed by critics as « one of the most powerful evenings in the theatre. ». »

[191] (en)« “But the reason I really wanted to do it, because I wanted to go that continent.” (Tippi Hedren) »

[193] (en)« George Montgomery wrote from Africa that he and the rest of the "Satan's Harvest" crew had the scare of their lives. The producers picked out a lovely riverside location by the Lampopo river in Rhodesia to shoot one particular scene. When the crew and cast moved in they found the spot already inhabited by a family of cobras. "Needless to say," George wrote, "we exited fast!" So fast that they had to send native "beaters" (to beat the snakes, naturally) back in later to rescue their equipment. »

[195] (en)« To understand how Shambala came to be, we must go back to 1969 when Tippi was filming Satan’s Harvest in Africa. There she met a mellow lion named Dandylion and suddenly had the feeling "there was much to discover about the big cats." »

[197] (en)« A trip to Gorongosa, Mozambique’s largest game preserve, brought Tippi and her husband Noel Marshall to an abandoned house inhabited by 30 lions and their cubs, some asleep in window frames, others gazing down from the roof, a couple sitting on a dilapidated porch swing, and one resting in a broken rocking chair. It was this bizarre scene that prompted Noel to say, "you know, we ought to make a picture about this." »

[198] (en)« Roar's working title was Lions, Lions and More Lions. »

[200] (en)« This movie has been described as a cross between The Birds and Born Free. »

[202] (en)« We were going to use Hollywood acting animals, and have a nine month shoot. »

[204] (en)« “So, anyway we were going to originally use Hollywood-acting animals, and have a nine-month shoot. But as soon as the trainers read the script about the house with the lions living in it, and working with thirty, maybe forty cats, they laughed at it and said it can not be done because of instinctual dictates to fight. They suggested that we get our own animals to do the movie, introduce them very carefully, and it that way.” (Tippi Hedren) »

[206] (en)« The first little animal that we acquired, a little lion, was a rescue from a doctor. »

[207] (en)« On their return to California they began acquiring cats from zoos, circuses and animal control officers. »

[209] (en)« But Tippi writes that "the months we spent raising the cubs were marvelous, unique learning experiences for us all. (...)" »

[210] (en)« Believing that nothing was more important than day-and-night communication with the cubs, Tippi shocked friends when she admitted that she absolutely made sure the cubs even slept with her or her children. »

[211] (en)« They did this in their house in Sherman Oaks, Calif. In the beginning until they got caught. Then they bought a ranch in Acton, Calif. Where it is legal, if you get all the permits, to raise these animals. Then they got tigers. Not needed for the film, but very amazing. Then elephants. Cougars. Cheetahs. »

[213] (en)« This movie was financed by husband and wife Noel Marshall and Tippi Hedren. Reportedly, to finance this picture, Hedren and Marshall had to mortgage their assets including their ranch. They had to sell: their Beverly Hills home, 120 acres of prime real estate in the San Fernando Valley and other assets in order complete this picture. »

[214] (en)« Finances were so precarious that, at one point, Hedren pawned her jewelry. »

[216] (en)« It's the story of an experimental college where everybody lives together. Because of that theme, it is often dismissed as a dirty book, but it's more than that. »

[217] (en)« But it isn't a dirty movie. It deals with vital themes - themes like the decline in importance of ideas like possession and jealousy and, by inference, marriage. I have four teenage children and I think this picture says some valuable things to them. »

[219] (en)« It is something more like soap opera with a little frontal nudity. »

[221] (en)« Ads for The Harrad Experiment resemble most run-of-the-mill X-picture promotions, and this undoubtedly turned away a lot of potential viewers. That's a shame, because the film really has something to say. »

[223] (en)« This movie was somewhat of a family affair. Actor-writer-director-production designer Noel Marshall cast two of his three real-life sons, Jerry Marshall and John Marshall, to play his sons Jerry and John in this picture. His other son, Joel Marshall worked behind-the-scenes, and was art director. Jerry Marshall also acted as an editor whilst Mona Marshall acted as an assistant editor. Tippi Hedren, married to Noel Marshall, both acted as producers, whilst Hedren starred in this movie along with her daughter, Melanie Griffith. »

[224] (en)« Even though it was a narrative film, much of Roar was shot documentary style. Oh sure, there was a script and a general storyline, but every scene involving lions was improvised and photographed with at least 4 cameras. Some scenes were covered with as many as 8 Panavision 35mm cameras! »

[226] (en)« Did I mention that the big cats weren’t trained? »

[227] (en)« Temperament in an actor is expectable, but an elephant named Tembo has gone Hollywood with a vengeance. (...) A few days later Tembo had another tantrum, wrapping his powerful trunk around co-star Tippi Hedren, late of Alfred Hitchcock's The Birds, and tossing her onto his head. She came down with a fractured leg and ankle. »

[229] (en)« Moreover, also during production, Hedren was bitten on the back of her head by a lioness called Sheri. Hedren received thirty-eight stitches to the open wound. »

[231] (en)« During filming in 1977, Melanie Griffith was mauled by a lion and required plastic surgery. Griffith reportedly received fifty stitches to her face. »

[232] (en)« Cinematographer Jan de Bont was mauled and scalped by a lion on the set. de Bont required over 120 stitches to sew his scalp back from where a lion had bitten his head. After medical treatment, de Bont actually returned to the production to complete his D.O.P. duties. »

[233] (en)« A horrifying experience befell Tippi Hedren, whose trip to Argentina for Where the Wind Dies was cut short when she received word that her producer-husband, Noel Marshall, was attacked by a lion he has been training for his next film, Roar. Marshall's hand was badly bitten has he attempted to separate two 500-pound cats that had begun to fight. »

[235] (en)« In 1978, a flood from a dam break killed many lions in the film, washed away the set and destroyed nearly all of the movie, including sets, completed film footage and three key lions including Robbie, the movie's lion king. The picture was set back several years and the damaged done amounted to approximately US $4 million. »

[236] (en)« In September 1979, a bushfire threatened the ranch where this movie was filming. All the animals were evacuated to safety. Noel Marshall was clawed by a cheetah when protecting the wildlife during this fire. »

[237] (en)« “We were so sure the film was going to be a success that we thought everything (financing the ranch and the lions, etc.) would take care of itself.” (Tippi Hedren) »

[239] (en)« “It was finally released all over the world but not the United States, because the United States distributors wanted the lion's share of the profits, and we thought it ought to go to the beautiful animals that made the movie.” (Tippi Hedren) »

[241] (en)« The noble intentions of director-writer-producer Noel Marshall and his actress-wife Tippi Hedren shine through the faults and short-comings of Roar, their 11-year, $17 million project - touted as the most disaster-plagued pic in Hollywood history. »

[243] (en)« What happened to her, she says, was simply an obsession: initially with getting the movie made, but in the long run, an obsession with these big cats. »

[244] (en)« “We could not see beyond our own hopes and egos.” (Tippi Hedren) »

[246] (en)« “Hedren's career, she says, just sort of slid--downward--the more she became involved with the cats.” (Tippi Hedren) »

[248] (en)« Tippi Hedren has a cameo and she freaks out when some birds go near her. Her daughter smiles and says, "Mother has this thing about birds." Too funny! »

[250] (en)« The episode, titled Psychodrama and shown in black and white, honors the master of suspense with parodies of such films as The Birds (Tippi Hedren guest-stars), Marnie, Vertigo, Rear Window and, of course, Psycho. »

[252] (en)« Tippi Hedren guest stars as "Alfreda Perkins". This character name is a reference to Alfred Hitchcock and 'Anthony Perkins'. »

[254] (en)« Hedren describes her storekeeper as “very together and knowledgeable about everything on the island. She is ecologically concerned about what is going on in our world.” »

[256] (en)« Unlike the original, the sequel explains the motives for the attacks. “In this movie, they are making an ecological statement,” Hedren says. “This time, we are trying to show that man screwed up the planet so desperately the birds are retaliating.” »

[257] (en)« Debuting Saturday, Hedren appears in the Showtime sequel to Hitchcock's feathery thriller, "The Birds II: Land's End," and she's not happy about it! Tippi was offered a small cameo role, which she accepted, but now she tells "Entertainment Tonight": “I feel badly that I'm not the lead - that I don't have a starring role. I certainly would have preferred that.” And when pressed on what Hitchcock himself might have thought of the sequel, Hedren, who didn't get along very well with the master of suspense, merely groans: “I'd hate to think what he would say!” »

[259] (en)« “The actors in Birds II have little to do except widen their eyes in terror.” »

[260] (en)« “Birds II (...) was directed by Alan Smithee, the time- honored Hollywood pseudonym used when a director wants to disown the finished product. But the poster and cassette box that Showtime sent along with the review tape clearly state that Rick Rosenthal (...) directed Birds II. He has good reasons to want his name erased from it. If it were me, I'd sue. ” »

[262] (en)« “The Birds II is mostly a by-the-numbers, nature-gone-unnaturally wild scenario that offers little of nothing in the way of suspense. We always know what's coming next. (...) What's most annoying, however, is the film's post-climax climax - a cliffhanger that tell us that The Birds III is on the way.” »

[264] (en)« “The Birds II corrects the major problem of the original - the lack of any explanation. (...) To be perfectly honest, The Birds II isn't half bad. In fact, if it weren't impossible to keep from comparing it to the original, we might even say it's pretty darn good.” »

[266] (en)« “I can't seem to find any agent to really get things going again. I'm know I'm good and that I still look good. I just don't know why I'm not working.” (Tippi Hedren) »

[268] (en)« “I'm so thrilled to a whole variety of films.” (Tippi Hedren) »

[270] (en)« I’m very appreciative to John Landis because he gave me the opportunity to do comedy. I’d never done comedy before and it was just wonderful for me to be able to do that. Everybody just thought of me as a serious actress so I owe that to John Landis, giving me that opportunity. »

[272] (en)« “I Woke up early the Day I Died was an incredible film. I must say I really loved that film. It was a unique kind of film to do also, because of the fact that it had no dialogue in it. It was very, very different.” (Tippi Hedren) »

[274] (en)« I just did a Murder, She Wrote with Angela Lansbury - absolutely the most lovely woman I ever met. »

[276] (en)« “I love doing the shorts and very often the scripts are really good.” (Tippi Hedren) »

[277] (en)« Q: You seem to be working more regularly as an actress than in the past. Is there any particular reason for this activity ? Hedren: “I have absolutely no idea, but I am enjoying it and I am having great fun with it.” »

[278] (en)« DAVID O. RUSSELL had developed something of a reputation. (...) But he was also known for alienating some of those actors while shooting. »

[280] (en)« In March 2007, two videos appeared on the Internet showing on-set arguments between David O. Russell and Lily Tomlin. »

[282] (en)« “I was able to work well with him.” (Tippi Hedren) / “While we were filming, I thought, “How is he going to edit this?” Because all of a sudden, he’d be like, “Now I’m going to do it this way,” and you’d think, “How is he going to edit this? How is this going to work?”” (Tippi Hedren) »

[284] (en)« “Well, he made it work. Somehow.” (Tippi Hedren) »

[286] (en)« “I am starting a film, which is going to be very interesting. I read the script and said, “I've got to do this, I've got to do this.” It is such an off-the-wall idea. The title is Diamond Zero. It involved a machine that makes it possible to make diamonds from men who have been cremated. Because we are carbon after we are gone, this machine will make diamonds out of the remains. Of course, my character is extremely diabolical and is quite a scary woman.” (Tippi Hedren) »

[287] (en)« Actress Laura Allen, who played the pivotal role of Lily Moore Tyler in the series made a business decision at the last minute before shooting began on the new season to not come back. »

[288] (en)« We were treated to a real class act in Hedren’s performance of the rapidly aging Lily, as her new (grown up) daughter began oozing the life right out of her in order to make that instant age transformation. »

[290] (en)« “I love that man. I was so impressed with his acting ability. He's a really amazing actor. He doesn't overdo it. He's so sensitive. The changes on his face are just amazing. He was a delight to work with.” (Tippi Hedren) »

[291] (en)« Hedren hadn't seen the series, so the producer sent her a selection of episodes on DVD before she flew up to the sets in Vancouver, British Columbia. “One night,” she says, “I thought, 'I'll look at a couple of shows tonight.' I was up till five in the morning. I went through all of them. It was so great. I loved the whole premise. It's exciting; it's scary; it's insightful; it's thought-provoking. I think it's just brilliant.” »

[293] (en)« As always, the guest casting is superb, including (...) Hitchcock icon Tippi Hedren as Wonder Woman's mother, Queen Hippolyta. »

[295] (en)« “It was great and I love Billy Bob Thornton. I absolutely love him. (...) The DP (Director of Photography) came over and said, “Hey, Tippi, you know we don’t rehearse.” I went, “Yes, how incredible!”” (Tippi Hedren) »

[297] (en)« Despite a credit for Tippi Hedren for Naomi on Imdb, we vonly get to see the back of Naomi's head when she's in her coffin. »

[299] (en)« “I tape it this coming week, Tommy. And when I read the script I laughed so hard, I cried.” (Tippi Hedren) »

[301] (en)« Hilarity ensues when Cloris Leachman's Maw Maw decides to switch dresses with Nana's corpse. »

[303] (en)« Have you heard that they’re making a biopic of Alfred Hitchcock during the making of Psycho? “Yes, in fact Tony Hopkins called me the other day and said that he wants me to come to the set. So I’ll be doing that in May.” (Tippi Hedren) »

[first-304] {a et b} (en)« “First of all I read the script. If it comes from a book, I read the book, maybe even a couple of times. When the script comes out, I read the script over and over and over and try to get a semblance of that character. Of course, the character that I play is the most important one for me. The relationships that you have with other characters and what in your character makes that relationship interesting is the most important.” (Tippi Hedren) »

[306] (en)« Of all her films, Marnie (1964) continues to be her favorite film, because of the complex title character. »

[307] (en)« “I felt the chemistry was totally lacking between Rod Taylor and Tippi Hedren.” (Evan Hunter) »

[309] (en)« Saturday Review's Arthur Knight wrote, “Hitchcock's newest 'find', Tippi Hedren is a decidedly lovely blonde.” »

[310] (en)« Hitchcock's follow-up picture to Psycho received generally harsh reviews from American critics with many criticizing Hedren's stylized, mannequin-like performance. »

[311] (en)« While many had been divided on his previous feature, The Birds, almost everyone complained about Tippi Hedren's acting abilities. »

[312] (en)« “Hitchcock has taken a pair of attractive and promising young players, Miss Hedren and Mr. Connery, and forced them into roles that cry for the talents of Grace Kelly and Cary Grant. Both work commendably and well -- but their inexperience shows.” »

[313] (en)« Hedren, undertaking role originally offered Grace Kelly for resumption of her screen career, credence to a part never sympathetic. It's a difficult assignment which she fulfills satisfactorily, although Hitchcock seldom permits her a change of pace which would have made her character more interesting. »

[315] (fr)« J'ai trouvé qu'il [Hitchcock] avait obtenu d'elle une interprétation assez efficace. (Jay Presson Allen) »

[317] (en)« She agreed with the critics who felt that Tippi Hedren was inadequate as Marnie and lacked the acting ability to make the character real and believable. But she added that the screenplay she had written had not adequately guided the actress or conveyed the character's pathos and vulnerability. »

[319] (en)« To him, Hedren was both untalented and exploitive of Hitchcock's obvious infatuation; still, he had no choice but to tolerate the situation. »

[321] (en)« “It's so unfair that Tippi Hedren has never had the credit she deserves for the two films she did with Hitchcock. I think the reason critics did not take her seriously is because she is too fashionable and therefore not 'serious'. The interplay between Hedren and [Suzanne] Pleshette in The Birds tells me more about women than any number of articles on feminist theory. Hitchcock captures the subtleties of females warring with each other; all those nuances of knives and guns conducted in looks and body language. He sculpts the human body in space. And I love the way Hedren handles cigarettes and a martini glass with such remarkable sophistication. It is gesturalism raised to the level of choreography.” (Camille Paglia) »

[322] (en)« Tippi Hedren's performance is likewise highly regarded as one of the finest female portrayals in any Hitchcock film. »

[323] (fr)« Surtout, Pas de printemps pour Marnie est la dernière collaboration entre Hitchcock et l'extraordinaire Tippi Hedren qui reste une des actrices hollywoodiennes les plus sous-estimées. (Laurent Bouzereau) »

[325] (en)« Found it touching when Sean Connery, her leading man from Pas de printemps pour Marnie (1964), said on television that she was underrated while almost everyone in Hollywood was overrated. »

[326] (en)« Tippi Hedren is pitifully sallow as his estranged wife. »

[327] (en)« Tippi Hedren, as Brando's wife, is superb in her few scenes at the tail-end of the picture. »

[328] (en)« Miss Hedren failed to convince us that she was a logical successor to Hitchcock's previous favorite female, a lady named Grace Kelly. »

[329] (en)« Her performance has the glow of a 25 watt bulb »

[331] (en)« Tippi Hedren. Just a distraction. »

[332] (en)« “My life as an actress was wonderful and marvelous but it was also extremely disappointing. It’s a very difficult career, at best. You are always looking for a job. You’re being talked about as though you were a piece of meat. It’s really difficult, as wonderful as it is to be an actress, it’s a double-edged sword.” (Tippi Hedren) »

[333] (en)« “I must say that I have more fun with my acting career than I used to. I do not take it quite so seriously. It's just fun.” (Tippi Hedren) »

[334] (en)« Tippi’s influence in cinema has endured — everyone from Jodie Foster to Naomi Watts has cited her as an inspiration (both dressed up as her for photoshoots in Vanity Fair) »

[338] (en)« “I was pretty fascinated by her then because people have often said that we're alike.” (Naomi Watts) »

[340] (en)« “Le hasard a voulu que je rencontre la merveilleuse Tippi Hedren, puisqu'elle faisait une apparition dans I Love Huckabees” (Naomi Watts) »

[342] (en)« Graham Fuller: “Were you thinking of Doris Day or Grace Kelly?” Naomi Watts: “Yeah. And Tippi Hedren, Kim Novak.” »

[344] (en)« Bridget Fonda, who played her daughter in the straight-to-cable film Break Up (1998), gushed to her about how she had watched Marnie (1964) "a million times". »

[345] (en)« Catherine Deneuve: “Marnie is a film I would have loved very much to do.” Geoff Andrew: “With all due respect to Tippi Hedren, I think I'd rather have seen you in it.” CD: “No, no. But it's a part I would have loved to play.” »

[347] (en)« Noel Marshall is said to have a violent temper. »

[349] (en)« Marshall continues to provide the bulk of Shambala's financial support. »

[350] (en)« “I think marriage is an individual choice, and it’s not for me. I’m a very independent person.” (Tippi Hedren) »

[351] (en)« “It was embarrassing and insulting—there were a lot of reasons why I didn’t want to tell the story. I didn’t want it to be taken advantage of, twisted, turned and made into an even uglier situation than it was.” (Tippi Hedren) »

[352] (en)« “There is a film that Sienna Miller has just done and it's called The Girl. (...) I went with her to see this and I was just shocked. She never told me what happened to her really with Hitchcock.” (Melanie Griffith) »

[354] (en)« “He was too possessive and too demanding,” says Tippi of her former discover, mentor and boss. “I cannot be possessed by anyone. But, then, that's my own hangup.” »

[355] (en)« “I broke the contract because there was just no way to go. It was an impossible situation. How can I put it? It just became where it wasn't good working, uh, good working, we reached an impasse.” (Tippi Hedren) »

[357] (en)« “I felt almost a sense of relief.” (Tippi Hedren) »

[359] (en)« “Peggy Robertson, his assistant for so many years, and I remained friends until she died. She at one point said to me that he would have these kind of feelings for his leading ladies, and she said, ‘But he never got over you.’” »

[360] (en)« “That time of my life was over. I still admire the man for who he was.” (Tippi Hedren) »

[362] (en)« “Donald is the first person I ever told this story to.” (Tippi Hedren) »

[363] (en)« “He then devoted Chapter 13 of ‘The Dark Side of Genius: The Life of Alfred Hitchcock’ to the Hitchcock-Hedren years.” (Tippi Hedren) »

[364] (en)« “He is absolutely true and honest in this book.” (Tippi Hedren) »

[365] (en)« Even today, Tippi doesn't want to talk about the imperious, overbearing Hitchcock. She referred me instead to Chapter 13 of a recent biography of the man. “It's very accurate as to just what he was,” she said. »

[366] (en)« “It was very, very difficult for me. I was a young woman, I wasn't married. He wanted me to be beholden to him for making me a star. Yes, he was sexually obsessed with me. It was awful but what could I do? There's no doubt about it, Hitch did have a very weird attitude towards women, perhaps because of his very strange childhood.” (Tippi Hedren) »

[367] (en)« “This was something I could never have done. I was not interested in him that way at all. I was fortunate enough to work with him, and as far as I was concerned, he ruined everything.” (Tippi Hedren) »

[368] (en)« She has no regrets. “I saved myself. I know that,” she says. “I feel good about that. I wish I had gone on to do all those other films. But I couldn’t. I replaced the films with other things.” (Tippi Hedren) »

[369] (en)« “He was a misogynist. (...) I think he had a whole lot of problems.” (Tippi Hedren) »

[370] (en)« “That man was physically so unattractive. I think to have a mind that thought of himself as an attractive, romantic man and then to wake up in the morning and look at that face and that body was tough.” (Tippi Hedren) »

[371] (en)« “That man was physically so unattractive.” (Tippi Hedren) »

[372] (en)« “I think he was an extremely sad character,” Hedren said. “As I said in the beginning, we are dealing with a brain here that is unusual, genius, and evil, deviant almost to the point of dangerous because of the effect that he can have on people that are totally unsuspecting.” »

[373] (en)« While researching the life of Alfred Hitchcock for a possible biopic, Wall To Wall executive producer Leanne Klein came across the story of Hitchcock’s relationship with Tippi Hedren and promptly contacted Donald Spoto, Hitchcock’s foremost biographer, to see if he would support the idea and act as a consultant. As luck would have it, Spoto was preparing Spellbound by Beauty: Alfred Hitchcock and His Leading Ladies, the third volume in his trilogy of books about the director. »

[374] (en)« Spoto’s close relationship with Hedren bridged the gap, facilitating the filmmakers’ access to the actress and helping persuade her that her story would be told correctly. »

[376] (en)« “To have a movie made about you is pretty scary.” (Tippi Hedren) »

[378] (en)« Hughes made several trips to California to sit down with Hedren, costume supervisor Rita Riggs, “Marnie” actress Diane Baker and, of special importance, Jim Brown, Hitchcock’s first assistant director. Brown, who is portrayed in THE GIRL by Carl Beukes, gave his one and only interview to Hughes shortly before his death, offering an accurate first-hand account of the dynamics between the director and his star, which mirrored Hedren’s memories. »

[379] (en)« “He had always felt a bit guilty about his failure to protect Tippi better.” (Gwyneth Hughes) »

[381] (en)« Jarrold said Hitchcock's survivors, including his daughter, have not objected to the film -- but also haven't seen it. »

[383] (en)« “A meeting with Sienna was just absolutely fabulous. She came to the Shambala Preserve where I live and we had a couple of hours in order to talk. I wanted her to learn about my background and why this whole horrible situation happened with Alfred Hitchcock.” (Tippi Hedren) »

[384] (en)« “The thing that really bothered me is the director didn’t want to have any kind of meetings with me. I’m rather offended by that.” (Tippi Hedren) »

[385] (en)« “[Sienna] said that she was fearful that the director wasn’t letting her be as strong as I was during that time.” (Tippi Hedren) »

[386] (en)« “I’m apprehensive about seeing the film and a little bit nervous about it.” (Tippi Hedren) »

[387] (en)« “She (Sienna Miller), along with Toby and the rest of the cast, have brought such honesty to their portrayals. I am honored that they, Julian, Gwyneth and the producers took the care to tell my story with such accuracy and sensitivity.” (Tippi Hedren) »

[388] (en)« “But actually viewing the film, I have to say that when I first heard Toby's voice at Alfred Hitchcock, my body just froze.” (Tippi Hedren) »

[390] (en)« “I think Sienna did a great job – I couldn't have chosen a better actress to do it.” (Tippi Hedren) »

[391] (en)« There's only so much ground that can be covered in an hour-and-a-half retelling of those events. (...) “It wasn't a constant barrage of harassment to me. There were times of delight and joy, all kinds of different things. That is the problem with any film. It can't possibly have everything in it.” (Tippi Hedren) »

[392] (en)« “I hope that young women who see this film know that they do not have to acquiesce to anything that they do not feel is morally right, or that they are dissatisfied with, or simply want to get out of that situation.” (Tippi Hedren) »

[393] (en)« Mrs Brown told The Daily Telegraph she was “absolutely sure” that her late husband would not have endorsed the allegations of sexual harassment. (...) Her late husband agreed to speak to Hughes for what he believed would be an affectionate portrayal of Hitchcock. »

[395] (en)« Leanne Klein, executive producer on The Girl, said: “We regret that Nora Brown is unhappy about the film, but she has not actually seen it, having declined our offers of a pre-release viewing.” »

[396] (en)« Nora's words are supported by taped interviews with Jim Brown for two books on the making of The Birds and Marnie. “Some of the things that are expressed about him are highly over exaggerated,” said Jim. “I think Hitch became upset because he thought Tippi wasn't fulfilling the star quality that he thought she had or was looking for.” »

[398] (en)« Surviving Assistant Director on Marnie Hilton Green agrees; “As far as any anxiety between the two, I didn't see anything. Marnie was a very strenuous part for Tippi to play. Hitchcock liked to test his actors, he was very good at things like that and he gave her a lot of direction because she needed it.” »

[399] (en)« “I find some of the allegations hard to believe. (...) She's a lovely woman, but I don't think Tippi should have said those things about Hitch. If you have some guy come on to you, and it happens all the time, a bright woman knows how to deal with it. Because she was so ambitious and dependent on Hitch she didn't dare to say what are you doing? But I wasn't aware of her being hassled on the set.” (Louise Latham) »

[401] (en)« “Some I think it’s unfortunate when someone’s no longer around and can’t defend themselves.” (Kim Novak) »

[403] (en)« “I think it's gotten a little more exaggerated over the years. And I do think it's grown larger and larger in her mind. She is convinced that Hitchcock ruined her career because he had her under contract and wouldn't let her do anything else after Marnie. But I don't think she was that good in Marnie. I think she's a lovely person and a really good heart. Tippi was a look. You watch that movie, and who is fabulous, is Jessica Tandy.” (Veronica Cartwright) »

[:0-1] {a b c d e f et g} Maïlys Gelin, « Tippi Hedren, la femme qui osa dire non à Alfred Hitchcock », sur Profession Audio|Visuel, 19 janvier 2022.

[MinnesotaPR-3] {a et b} (en) Euan Kerr, « Tippi Hedren comes home »^{(Archive.org • Wikiwix • Archive.is • Google • Que faire ?)}, sur MPR News, 7 mars 2012.

[IMDbBio-5] {a b c et d} (en) « Tippi Hedren – Biography », sur IMDb.com.

[7] (en) « Scandinavian-American Hall Of Fame - Tippi Hedren », sur Norsk Hostfest.

[9] (en) « Spellbound by Tippi Hedren, Hitchcock's Final Blonde », sur Knightatthemovies.com.

[Paul_82-83-11] Louis Paul 2007, p. 82-83

[Paul_82-13] Louis Paul 2007, p. 82

[HitchDemanding-15] {a et b} (en) « Hitchcock Too Possessive, Demanding », Beaver County Times,‎ 23 juillet 1973 (lire en ligne).

[16] Vidéo diffusé lors de l'hommage à Tippi Hedren au cours de la 24^e cérémonie des Genesis Awards en 2010 et où l'on peut voir les couvertures desdits magazines.

[17] (en) [vidéo] Tippi Hedren Tribute sur Vimeo.

[19] Tony Lee Moral 2005, p. 15

[AllAbout-21] {a b c d e f g h i et j} (en) Interview de Tippi Hedren pour le documentaire All About "The Birds" (2000) de Laurent Bouzereau, disponible sur le DVD du film.

[24] (en) Deborah Arthurs, « 'Being the object of Alfred Hitchcock's obsession was horrific,' says The Birds star Tippi Hedren, 'but while he ruined my career, he could never ruin my life' », sur Daily Mail, 16 août 2012.

[Hitchgirl-26] {a b c d e f g et h} (en) Rosie Millard, « Hitchcock's girl », sur FT Magazine, 27 juillet 2012.

[MakingOfTheBirds-29] {a b c d e et f} (en) Kyle B. Counts, « THE MAKING OF ALFRED HITCHCOCK'S THE BIRDS », sur The Hitchcock Wiki.

[Movieline-32] {a b et c} (en) Fred Topel, « Hitchcock 'Was a Monster': Tippi Hedren and New HBO Film Reveal Hitch's Dark Side », sur Movieline, 6 août 2012.

[TippiTimes-38] {a et b} (en) The Times, « Tippi Hedren: Alfred Hitchcock tried to destroy my career », sur The Hitchcock Wiki, 11 septembre 2008.

[Guardian1999-43] {a b et c} (en) Anita Chaudhuri, « The blonde queen of King Alfred », sur The Guardian, 6 août 1999.

[Inquirer-46] {a b c d e f et g} (en) Ruben V. Nepales, « Tippi Hedren reveals real horror of working with Hitchcock », sur Inquirer Entertainment, 11 août 2012.

[55] (en) Interview de Veronica Cartwright pour le documentaire All About "The Birds" (2000) de Laurent Bouzereau, disponible sur le DVD du film.

[57] ttps://www.parismatch.com/People/Dakota-Johnson-raconte-avec-emotion-les-abus-subis-par-sa-grand-mere-Tippi-Hedren-1769450

[Spoto_456-59] {a et b} Donald Spoto 1983, p. 456

[DailyExpress-62] {a b et c} (en) John Triggs, « THE PSYCHO AND HIS BLONDES », sur Daily Express, 27 mai 2008.

[ClassicFilms-64] (en) Mark Wallace, « Alfred Hitchcock and Tippi Hedren : A Tale of Obsession » sur Suite101.com, 15 mars 2011.

[65] ttps://www.lefigaro.fr/cinema/2016/11/21/03002-20161121ARTFIG00261-tippi-hedren-maintient-avoir-ete-sexuellement-agressee-par-alfred-hitchcock.php

[Press_Democrat-69] {a b et c} (en) John Beck, « The Girl after The Birds », sur Press Democrat, 1^er septembre 2012.

[71] (en) « Tippi Hedren - Tippi Hedren Stunned By Toby Jones' Hitchcock », sur Contact Music, 3 août 2012.

[TCMBirds-73] {a b c et d} (en) Jeff Stafford, « The Birds / Articles », sur Turner Classic Movies.

[AboutTippi-75] {a b c et d} (en) « TIPPI HEDREN », sur Shambala.

[Ina1963-77] {a et b} (fr) Mario Beunat, « Reportage sur le Festival de Cannes », sur ina.fr, 15 mai 1963.

[79] (en) Bosley Crowther, « The Birds (1963) Screen: 'The Birds': Hitchcock's Feathered Fiends Are Chilling », sur The New York Times, 1^er avril 1963.

[84] (en) Interview de Patricia Hitchcock pour le documentaire The Trouble with Marnie (2000) de Laurent Bouzereau, disponible sur le DVD du film.

[McGilligan_807-86] {a et b} Patrick McGilligan 2011, p. 807

[Moral_14-89] {a et b} Tony Lee Moral 2005, p. 14

[Moral_11-91] Tony Lee Moral 2005, p. 11

[Moral_110-94] Tony Lee Moral 2005, p. 110

[Moral_13-96] Tony Lee Moral 2005, p. 13

[98] (en) Interview de Joseph Stefano pour le documentaire The Trouble with Marnie (2000) de Laurent Bouzereau, disponible sur le DVD du film.

[100] (en) Interview de Evan Hunter pour le documentaire The Trouble with Marnie (2000) de Laurent Bouzereau, disponible sur le DVD du film.

[TroubleMarnie-102] {a b c et d} (en) Interview de Tippi Hedren pour le documentaire The Trouble with Marnie (2000) de Laurent Bouzereau, disponible sur le DVD du film.

[Moral_18-104] {a et b} Tony Lee Moral 2005, p. 18

[Moral_73-107] {a et b} Tony Lee Moral 2005, p. 73

[Moral_108-109] Tony Lee Moral 2005, p. 108

[116] Tony Lee Moral 2005, p. 70

[118] Tony Lee Moral 2005, p. 71-72

[121] (en) Interview de Hilton A. Green pour le documentaire The Trouble with Marnie (2000) de Laurent Bouzereau, disponible sur le DVD du film.

[Spoto_472-123] Donald Spoto 1983, p. 472

[Donald_SPOTO_page182-125] Donald Spoto 2008, p. 182

[Moral_121-127] {a b c d et e} Tony Lee Moral 2005, p. 121

[131] (en) Michael Thorton, « Hitchcock the Psycho: As Birds star Tippi Hedren reveals he tried to destroy her when she spurned his advances, how all his blondes lived in fear of the sadistic director », sur Daily Mail, 22 mars 2012.

[John_RUSSEL_page272-133] John Russell Taylor 1996, p. 272

[MirrorOnline-137] (en) Mirror.co.uk, « "He was evil and deviant": Alfred Hitchcock made my life hell, claims actress Tippi Hedren », sur Mirror Online, 25 août 2012.

[Spoto_475-140] Donald Spoto 1983, p. 475

[SpotoSpell_187-142] {a et b} Donald Spoto 2008, p. 187

[TCMMarnie-144] {a b et c} (en) Jeff Stafford, « Marnie / Articles », sur Turner Classic Movies.

[Archer-150] {a et b} (en) Eugene Archer, « Hitchcock's 'Marnie,' With Tippi Hedren and Sean Connery », sur The New York Times, 23 juillet 1964.

[McGilligan_838-839-151] Patrick McGilligan 2011, p. 838-839

[MarnieCinematheque-156] {a et b} (fr) « Accueil critique des films d'Alfred Hitchcock - Pas de printemps pour Marnie », sur La Cinémathèque Française.

[GirlNBC-158] {a et b} (en) Scott Huver, « "The Girl" Reveals Hitchcock's Dark Designs On Tippi Hedren », sur NBCBayArea.com, 18 octobre 2012.

[160] (en) « Bedtime Story (1964) – Trivia », sur IMDb.com.

[162] (en) « Mirage (1965) – Trivia », sur IMDb.com.

[164] (en) « Fahrenheit 451 (1966) – Trivia », sur IMDb.com.

[167] (en) Interview de Tippi Hedren pour le documentaire Hitchcock: Alfred the Great (1994)

[169] (en) « Tippi Hedren », sur The New York Times.

[171] (en) Aaron Hicklin, « Ladies We Love: Tippi Hedren », sur Out Magazine, 18 mars 2011.

[173] (en) « Tippi Hedren Recalls Alfred Hitchcock's Harassment for HBO's 'The Girl' », sur The Hollywood Reporter, 2 août 2012.

[Paul_85-175] Louis Paul 2007, p. 85

[Epstein_184-177] {a et b} Jerry Epstein 2012, p. 184

[180] (en) Patric McDonald, « Interviews: Christmas Stars Shine With Mickey Rooney, Ernest Borgnine, Tippi Hedren, Larry Hagman », sur hollywoodchicago.com, 24 décembre 2009.

[NYTCountess-183] {a et b} (en) Bosley Crowther, « A Countess from Hong Kong », sur The New York Times, 17 mars 1967.

[VarietyCountess-185] {a et b} (en) « A Countess from Hong Kong », sur Variety, 31 décembre 1966.

[188] (en) Hal Boyle, « Tippi Acts for Hitchcock », 11 mai 1966.

[190] (en) « TIPPI HEDREN in A HATFUL OF RAIN », 3 juillet 1967.

[SCVNEWSMAKER-192] (en) Leon Worden, « SCV NEWSMAKER OF THE WEEK: Tippi Hedren », 6 mars 2005.

[194] (en) Marilyn Beck, « Hollywood Closeup », 28 juillet 1969.

[thepetpress-196] {a b et c} (en) Lori Golden, « Tippi Hedren », sur thepetpress-la.com, septembre 1999.

[199] (en) Carrie Frye, « How To Get Your Lion Back When It Runs Away: Life Lessons From Tippi Hedren », sur TheAwl.com, 19 octobre 2012.

[RoarTrivia-201] {a b et c} (en) « Roar (1981) - Trivia », sur IMDb.com.

[Austinmenscenter-203] {a b et c} (en) Bill Bruzy, « She Thinks Like a Cat, Interview with actress and animal activist Tippi Hedren », sur Austinmenscenter.com.

[Paul_86-205] {a et b} Louis Paul 2007, p. 86

[208] (en) « Tippi Hedren », sur Roarthemovie.com.

[212] (en) « The making of Roar », sur Roarthemovie.com.

[215] (en) Connie Lauerman, « Tippi Hedren's New :'Family' Is Lions, Tigers », sur SunSentinel.com, 5 octobre 1995.

[218] (en) « 'Harrad' Film Isn't 'Another Dirty Movie' », 21 avril 1972.

[220] (en) Roger Greenspun, « The Harrad Experiment », sur The New York Times, 12 mai 1973.

[222] (en) Terry Hazlett, « 'The Harrad Experiment' Better Than Ads Indicate », 26 juin 1973.

[RSellars-225] {a et b} (en) Randolph Sellars, « The Most Dangerous Movie Ever Made (Part 1) », sur RandolphSellars.com, 7 novembre 2011.

[228] (en) « Tippi Hedren Learns the Law of the Jungle: When An Elephant Decides to Ad Lib, Look Out », sur People, 11 juillet 1977.

[RoarIMDb-230] {a b c d et e} (en) « Roar (1981) – Trivia », sur IMDb.com.

[234] (en) Dorothy Manners, « Off the Grapevine : Morsels of gossip as reported by some of the nation's most talented listeners », 25 février 1975.

[TiaG1-238] {a et b} (en) Tia Gindick, « The Lion's Share of the Good Life : Tippi Trades Roar of the Greasepaint for the Real Thing », sur Los Angeles Times, 26 septembre 1985, p. 1.

[240] (en) « Greatest Box-Office Bombs, Disasters and Film Flops: The Most Notable Examples - 1981 ».

[242] (en) « Roar », sur Variety, 31 décembre 1980.

[Tippi_HEDREN_page259-245] Tippi Hedren et Theodore Taylor 1991, p. 259

[TiaG2-247] {a et b} (en) Tia Gindick, « The Lion's Share of the Good Life : Tippi Trades Roar of the Greasepaint for the Real Thing », sur Los Angeles Times, 26 septembre 1985, p. 2.

[249] (en) « In the Cold of the Night (1990) - Connections », sur IMDb.com.

[251] (en) John Martin, « 'Chicago Hope' revives Alfred Hitchcock », 21 janvier 1998.

[253] (en) « Psychodrama (1998) – Trivia », sur IMDb.com.

[BirdsII-255] {a et b} (en) Ann Green, « Retro : A Flock of Terror, Part II », sur Los Angeles Times, 13 mars 1994.

[258] (en) Liz Smith, « 'Nobody's Fool', the life of Danny Kaye », Newsday - Long Island, N.Y., 17 mars 1994.

[261] (en) Ken Tucker, « The Birds II: Land's End », sur Entertainment Weekly, 18 mars 1994.

[Distraction-263] {a et b} (en) James Endrst, « Showtime's Hitchcock sequel strictly for the birds », 19 mars 1994.

[265] (en) Lynn Hoogenboom, « Revenge of the Birds », 19 mars 1994.

[267] (en) Ron Miller, « 'Birds' star runs wild animal refuge », 19 mars 1994.

[Quarterly-269] {a et b} (en) Briege McGarrity, « TIPPI HEDREN ».

[roughing-271] {a et b} (en) « Roughing It: An Interview with Tippi Hedren », 2 mai 2012.

[Paul_87-273] {a b c et d} Louis Paul 2007, p. 87

[StepTH-275] {a et b} (en) James Brady, « In step with Tippi Hedren », 13 mars 1994.

[279] (en) Sharon Waxman, « The Nudist Buddhist Borderline-Abusive Love-In », sur The New York Times, 19 septembre 2004, p. 1.

[281] (en) « I Heart Huckabees (2004) – Trivia », sur IMDb.com.

[283] (en) Cinema Fanatic, « TCM CLASSIC FILM FESTIVAL 2012: TEA WITH TIPPI HEDREN », sur YAM Magazine], 26 avril 2012, p. 4.

[285] (en) Rob Christopher, « Bird Talk With Tippi Hedren », sur Chicagoist, 3 avril 2012.

[289] (en) Kylie Nin, « Tippi Hedren Saves "The 4400" Season Opener », sur Slice of SciFi], 6 juin 2006.

[292] (en) Kate O'Hare, « 'The 4400' Counts on Tippi Hedren », sur Zap2it], 9 juin 2006.

[294] (en) Rich Sands, « First Look: Batman, Superman and Wonder Woman Team Up on The Brave and the Bold », sur TV Guide], 3 octobre 2011.

[296] (en) Sarah Knight Adamson, « Interview with Tippi Hedren, star of “The Birds,” and Ben Mankiewicz, host of “Turner Classic Movies” », sur Triblocal.com], 4 avril 2012.

[298] (en) Andrew Pulver, « Berlin 2012: Jayne Mansfield's Car – review », sur The Guardian], 14 février 2012.

[300] (en) Tommy Lightfoot Garrett, « Iconic Star Tippi Hedren Spoke EXCLUSIVELY With Highlight Hollywood On: Appearing Before U.S. Congress Next Month, Working With Daughter Melanie On Fox’s ‘Raising Hope’ And Hitchcock », sur HighlightHollywood.com, 4 août 2012.

[302] (en) William Keck, « Keck's Exclusives First Look: Raising Hope Books Mom-Daughter Duo », sur TVGuide.com, 20 août 2012.

[Stumped#2-305] {a et b} (en) Chris Neumer, « Tippi Hedren Interview #2 », sur Stumped Magazine.

[308] (en) Walter Srebnick, « HITCHCOCK FORUM - JOSEPH STEFANO, ARTHUR LAURENTS AND EVAN HUNTER TALK ABOUT WORKING WITH ALFRED HITCHCOCK. », sur EdMcBain.com, 23 septembre 2002.

[314] (en) « Marnie », sur Variety, 31 décembre 1963.

[McGilligan_826-316] Patrick McGilligan 2011, p. 826

[Walter_RAUBICHECK_page118-318] Walter Raubicheck et Walter Srebnick 2011, p. 118

[320] Steven C. Smith 1991, p. 253

[324] Laurent Bouzereau 2010, p. 75

[330] (en) « Pretensions of emancipation hobble Harrad Experiment », 28 juin 1973.

[BTW-335] {a et b} (en) « Tippi Hedren: Why I love being free as a bird », sur Belfast Telegraph Woman, 12 juin 2012.

[336] (en) Norman Jean Roy, « The 2008 Hollywood Portfolio - Hitchcock Classics : Jodie Foster », sur Vanity Fair, mars 2008.

[337] (en) Norman Jean Roy, « The 2008 Hollywood Portfolio - Hitchcock Classics : Naomi Watts », sur Vanity Fair, mars 2008.

[339] (en) Rebecca Murray, « Naomi Watts Talks About 'Funny Games' and 'The Birds' », sur Movies.about.com, 14 mars 2008, p. 3.

[341] (fr) Interview de Naomi Watts par Juliette Michaud pour Studio magazine, avril 2008, n° 245, p. 112.

[343] (en) Graham Fuller, « Naomi Watts: Three Continents Later, An Outsider Actress Finds Her Place », sur Lynchnet.com, novembre 2001.

[346] (en) Geoff Andrew, « Guardian/NFT interview: Catherine Deneuve », sur The Guardian, 21 septembre 2005.

[348] (en) « Assets Nothing To Squawk About », 25 mars 1982.

[353] (en) [vidéo] « Festival Talk Melanie Griffith im Gasteig Teil 2 / Pt 2 @ Filmfest München 2012 », sur YouTube.

[356] (en) Tony Kornheiser, « Tippi Hedren finds Grace Kelly image was for the birds », 11 septembre 1979.

[358] (en) The Times, « The Times (05/Apr/2005) - The birds attacked me but Hitch was scarier », 5 avril 2005.

[NYTRevenge-361] {a b c d et e} (en) Andrew Goldman, « The Revenge of Alfred Hitchcock’s Muse », sur The New York Times, 5 octobre 2012.

[GirlPressRelease-375] {a b et c} (en) Sara Bibel, « HBO Films' 'The Girl' Debuts October 20 », 1^er octobre 2012.

[Cinemablend-377] {a b c d et e} (en) Perri Nemiroff, « Tippi Hedren Admits She's Apprehensive About The Birds Movie With Sienna Miller », sur Cinemablend.com, 21 avril 2012.

[380] (en) [vidéo] « Gwyneth Hughes and Julian Jarrold on The Girl », sur YouTube.

[TheWrap-382] (en) Tim Molloy, « Tippi Hedren on Hitchcock: 'Genius and Evil and Deviant, Almost to the Point of Dangerous' », sur TheWrap.com.

[LeaderPost-389] {a b et c} (en) Alex Strachan, « Film tells Hedren's grim tale », sur LeaderPost.com, 17 octobre 2012.

[blacklash-394] {a et b} (en) Anita Singh, « Alfred Hitchcock drama The Girl sparks angry backlash », sur The Telegraph, 22 octobre 2012.

[workersdefend-397] {a b c et d} (en) Tony Lee Moral, « Hitchcock's Co-workers Defend the Director Against The Girl », sur The Huffington Post, 27 décembre 2012.

[400] (fr) Interview de Kim Novak par Gregory Aujol pour l'émission Grand Public du 1^er novembre 2012.

[402] (en) Richard Rushfield, « Kim Novak tells all », sur The Telegraph, 8 octobre 2012.

[404] Jean Talabot, « Selon sa muse Tippi Hedren, Alfred Hitchcock l'aurait agressée sexuellement », sur lefigaro.fr, 31 octobre 2016.

[405] Elena Scappaticci, Jean Talabot, « Tippi Hedren accuse encore Alfred Hitchcock d'agression sexuelle », sur lefigaro.fr, 22 novembre 2016.

[406] « Tippi Hedren » sur julesvernefestival.com.

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