ALFRED HITCHCOCK DEATH MATE EPISODE SERIES

It was Hitch who freed me.”įrom 1957-62, Lloyd served as associate producer of “Alfred Hitchcock Presents,” for which he also directed 19 episodes. “The network told Hitch, there’s a problem with Lloyd, and he simply said, ‘I want him.’ They all could have done that,” Lloyd told the New York Post in 2007, his voice rising in anger.

ALFRED HITCHCOCK DEATH MATE EPISODE SERIES

Lincoln,” five half-hour films written by James Agee that aired on the acclaimed cultural series “Omnibus.”īut Lloyd discovered he was a victim of the Hollywood blacklist when producer John Houseman tried to cast him in the 1953 film “Julius Caesar.” He returned to the theater until Hitchcock wanted him for a job as associate producer of his TV series “Alfred Hitchcock Presents.” He also turned his attention to directing for television.

In the early 1950s, Lloyd frequently directed productions at the La Jolla Playhouse. The mellifluous-voiced actor’s more than 70-year career spanned theater, film, radio and television.Īs a young New York actor in the 1930s, he was a member of the Theatre of Action, the Federal Theatre, the Mercury Theatre and the Group Theatre - and worked with legendary directors Max Reinhardt, Joseph Losey, Elia Kazan and Orson Welles.Īfter making his film debut in “Saboteur” in 1942, Lloyd played character parts in 21 films over the next 10 years, including Hitchcock’s “Spellbound,” Jean Renoir’s “The Southerner,” Losey’s “M,” Charles Chaplin’s “Limelight” and Lewis Milestone’s “A Walk in the Sun.” Of Lloyd’s performance on the statue, Hitchcock once dryly commented, “No one could have dangled better than Norman.” The small saddle was not visible the pipe and black cloth, which were seen, were later painted out in a traveling matte shot.” By the time the camera got to the top of its move, it had gone from an extreme close-up to a very long shot of my apparently falling figure. “This was shot at different speeds, while I did movements of falling rather slowly and balletically. On cue, the camera started with a close-up of him, then went up in the air to the grid, “together with the set piece of the thumb and forefinger, leaving me behind thus giving the effect of falling. The platform, with a hole cut in it for the camera, was on counterweights and rigged to the top of the soundstage.īeneath the platform was a saddle-like device on which Lloyd sat, on a pipe about 4½ In “Stages: Of Life in Theatre, Film and Television,” his 1990 book based on his oral history for the Directors Guild of America, Lloyd explained that the shot was done at Universal Studios with mock-ups of the statue’s thumb and forefinger attached to a platform. But the seam of the coat begins to rip, and when the sleeve parts from the coat, Fry falls to his death at the base of the statue.Īmazingly, the dramatic shot of the fall, which began with a close-up of Fry, was done without a cut. Kane then pulls on the dangling Fry’s coat sleeve to bring him closer.

Alfred hitchcock death mate episode