"Give them pleasure - the same pleasure they have when they wake up from a nightmare"
About this Quote
Hitchcock frames “pleasure” as a physiological aftershock, not a polite reward. The line is a neat piece of misdirection: you think he’s talking about delight, but he’s really talking about relief, adrenaline, and the suddenly luxurious feeling of being safe. It’s pleasure with teeth marks. That’s his whole project in miniature: engineer dread so precisely that the audience leaves the theater buoyant, almost giddy, because the danger was simulated and the body gets to cash the check anyway.
The intent is craft-first and slightly taunting. Hitchcock isn’t selling “fear” as an end; he’s selling control. A nightmare is chaotic, private, unedited. His films promise the nightmare’s sensations without its helplessness. He can tighten the screw, release it, and let the viewer experience mastery over panic. That’s why the quote lands with his trademark dry cynicism: he treats the audience like willing subjects in an experiment, people who pay to have their nervous systems played like an instrument.
The subtext is also a quiet defense of “mere entertainment.” Suspense, in Hitchcock’s hands, isn’t lowbrow shock; it’s a sophisticated manipulation of timing, information, and empathy. Coming out of a nightmare, you’re not grateful for the terror-you’re grateful for the waking. Hitchcock builds films that make waking up feel like a gift, and he’s honest enough to admit that the gift only works if he first convinces you the dark is real.
The intent is craft-first and slightly taunting. Hitchcock isn’t selling “fear” as an end; he’s selling control. A nightmare is chaotic, private, unedited. His films promise the nightmare’s sensations without its helplessness. He can tighten the screw, release it, and let the viewer experience mastery over panic. That’s why the quote lands with his trademark dry cynicism: he treats the audience like willing subjects in an experiment, people who pay to have their nervous systems played like an instrument.
The subtext is also a quiet defense of “mere entertainment.” Suspense, in Hitchcock’s hands, isn’t lowbrow shock; it’s a sophisticated manipulation of timing, information, and empathy. Coming out of a nightmare, you’re not grateful for the terror-you’re grateful for the waking. Hitchcock builds films that make waking up feel like a gift, and he’s honest enough to admit that the gift only works if he first convinces you the dark is real.
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| Topic | Movie |
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