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Edith Head - quotes

Quotations relating to Edith Head.

Hitch was not only my director, he was my drama coach, which was fantastic. I couldn't have had a better teacher. He not only helped me with developing the character of Melanie Daniels, he had me sit in on meetings with Evan Hunter; with Robert Burks, the D.P.; with Bobby Boyle, the set director; with, of course, Edith Head, who I worked very closely with on designing not only the clothes for "The Birds" and "Marnie" but my own private wardrobe. But in every phase of making that motion picture, he was sure that I was educated in it. And it was stunning. It was an amazing education that I received.

— Tippi Hedren (2000)

Casting

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."

So Monday I was introduced to a number of other executives. Nobody would tell me who it was — who the producer/director was. They just said, "Would you go over to MCA tomorrow morning and meet with Herman Citron," who was an agent there. 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."

And I was stunned. I didn't know whether to laugh or cry or run up and down the halls or what to do. And he said, "If you are in agreeance to this, we will go over to Paramount Studios and meet with him." So Herman Citron 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.

I heard that they were doing "The Birds", that Evan Hunter was working on the script and Hitch was working with him on it, and I thought, that's very interesting, this is very exciting and all that, but it never occurred to me that I would be involved in this movie at all. I thought I would do the television shows which he did every week. 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. Alma had a great deal to do with a lot of his work. So we eventually did the screen test. It took three days. And Robert Burks was the D.P. on it and Edith Head did all of the designs of the clothes and she did a personal wardrobe for me. It was an extraordinary time.

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. He had just come out of Psycho.

The screen test was put together, and I guess everybody saw it, and Mr. and Mrs. Hitchcock invited me to dinner at Chasens. Lew Wasserman was sitting to my left and Alma and Hitch were to my right, and — he placed — 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."

Well, I started to cry. These big tears welled up, because I didn't expect that. I really didn't expect that. And I looked at Hitch, and he was a little watery, and Alma and even Lew Wasserman, this big movie mogul, he had one little tear coming down here. It was a very exciting evening. It was just incredible. And then the whole — all of the work really began.

We didn't actually do any pre-rehearsals. I didn't meet Rod Taylor till we were — you know, till we were really ready to film.

— Tippi Hedren (2000)

Film Production

Hitchcock tried to use the same crew over and over again, at least the ones he liked, as do all of us. Edith Head did the costumes, and Henry Bumstead, who had won two Oscars at that time and a number of nominations, was the production designer. Lenny South, the cameraman, was actually recommended by the studio but had worked as only Hitch's operator in the past, not as a cameraman. Some of the other key positions were new. But he liked to be comfortable. But even though he worked with these people, there were very few who ever talked to him.

— Howard G. Kazanjian (2001)
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