Index to Academy Oral Histories Peggy Robertson

Peggy Robertson (Script supervisor, Assistant to Alfred Hitchcock) Call number: OH131 The Academy (London theater), 6 Academy Awards, 137, 213, 264-265, 304-305, 379 ADAM AND EVELYNE, 12 ALFRED HITCHCOCK PRESENTS (television), 170, 203 Allardice, James, 196 Allen, Jay Presson, 276-277, 281 American Film Institute, 379-380 Andrews, Julie, 149, 286, 288-289 Antonioni, Michelangelo, 226, 299 Arosenius, Per-Axel, 319 Arrigo, Frank, 282-283 Asprey's (jewelry store), 118 Asquith, Anthony, 17, 19 Association of Cine Technicians (A.C.T.), 27, 56-57, 127 Baird, Teddy, 24 Baker, Diane, 240, 259-260, 277, 280 Balcon, Michael, 77 Bass, Saul, 204-205 Bates, Michael, 358 Batliner, William, 282 Beeson, Paul, 106-107 Bergdorf Goodman (department store), 178, 257-258 Bergman, Ingrid, 86, 88-89, 94-98, 111-112, 222, 354, 380 Berkeley, Ballard, 110 Bernstein, Sidney, 102-103, 222 Berwick, Ray, 234, 237, 256 THE BEST YEARS OF OUR LIVES, 79 THE BIRDS, 168, 199, 228-229, 232-264, 267-268, 271-272, 277, 282, 289 Black, Karen, 365-366 BLACK CHIFFON (play), 84, 141 BLACK CHIFFON (unproduced film), 61, 84, 141-143 BLACK NARCISSUS, 71 Bodega Bay, California (location shooting), 238 Bogdanovich, Peter, 188, 274-275, 380-381 Boileau, Pierre, 199 Bone, Bob, 255 Booth, Margaret, 190 Boucher, Anthony, 201, 229 Boyle, Robert, 108, 178, 185-186, 189, 195, 234, 246-247, 255, 282, 298, 374, 378 Bridie, James, 89 Brown, James H., 244 Brown, Ned, 277 Browne, Roscoe Lee, 301, 312, 318 A Bullet in the Ballet (novel), 135 Bullock's Wilshire (department store), 383 Bumstead, Henry, 198, 224, 246, 368-369 Burks, Robert, 53, 162-163, 185, 187-188, 195, 245, 248-250, 266, 282, 284, 368-369 Burton, Richard, 110 CAESAR AND CLEOPATRA, 19 Calleia, Joseph, 81-82 Campbell, Vera, 57 Caprice Restaurant (London), 130 CARDBOARD CAVALIER, 47 Cardiff, Jack, 71-72, 103, 106 Carreras, James, 137, 139-140 Carroll, Leo G., 52-53, 88, 181 Carroll, Madeleine, 222 Cartwright, Veronica, 242-243 Cavanagh, James, 227 Chabrol, Claude, 272, 346 Charisse, Cyd, 181 Chasen's Restaurant (Los Angeles), 251, 301 Churchill, Winston, 67-68 Cineguild (production company), 30, 35, 40-41 Citron, Herman, 200 Clayton, Jack, 24 Coburn, Robert, 250-251 Colasanto, Nicholas, 371 Coleman, Herbert, 173, 200-201, 208, 321 Columbia Pictures, 44-45, 76 Colvig, Helen, 258-259 Communism, 56, 76 Connery, Sean, 277, 280 Conwell, Carolyn, 286 Cooper, Willkie, 133 Corbett, Eileen, 5, 12-14, 17, 21, 28, 32, 34 Corrick, Jack, 106 Cotten, Joseph, 86, 95-96 Cousteau, Jacques, 138-139 Covent Garden (location shooting), 332-333 Coward, Noel, 39-41 Cox, Jack, 163 The Crazy Gang (comedy troupe), 46-48 Cronyn, Hume, 89, 276 Dawn, Jack, 260 Dayton, Percy, 27 Deans, Marjorie, 29 Dearden, Basil, 61, 77-78 Dearden, James, 61, 78 Del Giudice, Filippo, 39, 41, 64 Del Giudice, Julio, 39 Deming, Norman, 244 Denham Studios, 5, 11-16, 23-24, 27, 36, 38, 56 Dern, Bruce, 281-282, 364-365 Devane, William, 174, 366 Devonshire, England (location shooting), 13-14 Dietrich, Marlene, 82, 115-118, 121-122, 129, 133 Di Palma, Carlo, 227 Disney studios, 252-253 Dmytryk, Edward, 76 Dr. Jekyll and Mr. Hyde (novel), 296-297 DOCTOR NO, 95 Dor, Karin, 311 Dresdel, Sonia, 84, 141-142 DRIVING MISS DAISY, 264 Dudley-Ward, Penelope, 20 du Maurier, Daphne, 199, 229, 232 Ealing Studios, 46-47, 77 Electrical Trade Union (E.T.U.), 56, 127 Elvin, George, 56 Enfield, Cy, 85 Excelsior Films (production company), 83 Eythe, William, 59 Fairbanks, Douglas Jr., 142-143 Fairbanks, Douglas Sr., 142 FAMILY PLOT, 174, 362-374, 383 Fast, Howard, 297 Fehr, Rudi, 172 Ferry, Odette, 323 Field, Sid, 47 Film Society at Lincoln Center, 359-360 Finch, Jon, 329, 359 THE FIRST OF THE FEW, 35-36, 38-39, 44 FLAMINGO FEATHER (unproduced film), 298 FOREIGN CORRESPONDENT, 290 Formby, George, 6, 44, 74-75 Forsythe, John, 319 Foster, Barry, 310, 329-330 Foster-Kemp, Cecil, 129 Freeland, Thornton, 59-61, 84 Freeman, David, 374-378 French, Harold, 17-18 FRENZY, 126-128, 217, 291, 297, 310, 327-344, 349, 351, 353-359, 363, 372 FRIEDA, 61-62, 77-79 Friend, Charles, 18-20 Furse, Roger, 86 Gauthier, Suzanne, 224-225, 376 Geoffrey Stanley (production company), 236 Gish, Lillian, 363 Goldsmith, Stanley, 245-246 Goodbye Piccadilly, Farewell Leicester Square (novel), 327-328 Goodwyn, Ron, 332 Granada Films, 86 Grant, Cary, 53-54, 123, 181, 184, 186-188, 193-194 Green, Hilton, 204 GREEN GROW THE RUSHES, 7, 79 Greenbaum, Mutz, 38 Greville, Edmond, 81 Halsman, Philippe, 236 Hampton, Larry, 255 Harris, Barbara, 364 Harrison, Joan, 303 Harrison, Rex, 15 Harvey, Laurence, 197 THE HASTY HEART (play), 119, 122 Havelock-Allan, Tony, 30, 35-36, 40-42 Haynes, Stanley, 29 Head, Edith, 166-169, 256-259 Heckroth, Hein, 283 Hedren, Tippi, 222, 238-242, 260-261, 277, 279-280, 285-286 Hellman, Marcel, 59-60, 83-84, 119 HELLZAPOPPIN' (film), 54 Helmond, Katherine, 370 Helmore, Tom, 174 Hepburn, Audrey, 197-198 Herrick, Margaret, 304 Herrmann, Bernard, 163-166, 189, 195, 263-264, 283, 293-294 Heyerdahl, Thor, 137-138 Hildyard, Jack, 18, 38, 321 Hiller, Wendy, 20 Hitchcock, Alfred, 6-7, 33, 39, 49, 52-53, 57-58, 81, 86-117, 119-136, 145-147, 149-156, 159-241, 243-252, 255-383 Hitchcock, Alfred -- and actors, 116, 121-124, 130-131, 149, 213-214, 238, 243, 285-286, 357-358, 366-367 Hitchcock, Alfred -- and animals, 226, 235-237, 353 Hitchcock, Alfred -- and the auteur theory, 346-347 Hitchcock, Alfred -- cameo appearances, 124-125, 179, 247 Hitchcock, Alfred -- and camerawork, 103-106 Hitchcock, Alfred -- and casting, 95, 147, 180-183, 238-240, 288-289, 310-311, 314, 328-330, 356-359, 363, 365-366, 369 Hitchcock, Alfred -- developing new material, 198-202, 228-233, 276, 286-287, 296-300, 305-308, 327-328, 373-378 Hitchcock, Alfred -- and fashion, 99-100, 258 Hitchcock, Alfred -- and film credits, 102, 107, 173-174 Hitchcock, Alfred -- and food, 130-131, 300-302, 328, 337-338 Hitchcock, Alfred -- influences, 225-228, 299 Hitchcock, Alfred -- and interpretations of his films, 221-222, 275-276, 280-281, 346-349, 382-383 Hitchcock, Alfred -- and location shooting, 126, 262-263, 270-271 Hitchcock, Alfred -- on the MacGuffin, 191, 319-320, 344 Hitchcock, Alfred -- on-set attitude, 98-99, 109-111, 130, 244-245 Hitchcock, Alfred -- and politics, 290-291, 308, 312, 320 Hitchcock, Alfred -- and publicity, 195-197, 203, 216-218, 295-296, 367 Hitchcock, Alfred -- and reviews of his films, 321 Hitchcock, Alfred -- on suspense, 134-135, 192, 208-209, 305-306, 342-343 Hitchcock, Alfred -- storyboards, 49, 87-88, 93, 108-109, 124, 204-206 Hitchcock, Alfred -- and television, 101, 170, 196, 219 Hitchcock, Alfred -- Truffaut interview, 88-89, 98, 116, 178, 272-275 Hitchcock, Alfred -- and violence, 218-219, 335-337, 352-354 Hitchcock, Alfred -- and writers, 176-177, 210, 276-278, 309 Hitchcock, Alma Reville (wife), 100-101, 120-121, 170-171, 176, 238, 278-279, 316 Hitchcock, Patricia (daughter), 119-120, 125, 381 Hobson, Valerie, 41 Hoffman, Bud, 248-249 Hollywood Museum, 140-141 Hollywood Roosevelt Hotel, 56 Hollywood Ten, 85 Houston, Renee, 31-32 Howard, Leslie, 12, 30, 35-39, 66-67 Huth, Harold, 36 I CONFESS, 163, 361 I SEARCH FOR ADVENTURE (television), 137-139 Ibbetson, Arthur, 107 ILLEGALLY YOURS, 381 IN WHICH WE SERVE, 16, 39-40 International Alliance of Theatrical Stage Employees (I.A.T.S.E.), 57 Irons, Jeremy, 82 Irving Thalberg Award, 304 Isaacs, _____ (King's College professor), 9 Iwerks, Ub, 252-254 J. Walter Thompson (advertising agency), 31 JAMAICA INN, 111 Jarvis, Edward B., 112 JOHNNY BELINDA, 115 Jympson, John, 332 Katzin, Lee, 245 Kedrova, Lila, 293 Kelly, Grace, 239, 261, 310, 354 Kemp, Cecil Foster, 107-108 Kerr, Deborah, 20 Kilburn Empire (Hampstead theater), 6 King's College, London, 5, 8-9, 11 KON-TIKI, 137-138 The Kon-Tiki Expedition (book), 137 Korda, Alexander, 14 Korda, Vincent, 28-29 labor unions, 12, 27, 56-57, 67, 73, 127, 146, 156, 186 Landau, Martin, 180-181, 183 Landis, Carole, 33, 59, 80-83 Landis, Jessie Royce, 193 Latham, Louise, 281 Lauter, Ed, 369-370 Lazar, Irving "Swifty", 271 "The Laziest Gal in Town" (song), 121 Lean, David, 16-18, 29, 35, 39-41 Lehman, Ernest, 175-177, 189, 227, 363-364, 369, 371 Leigh, Janet, 202-203, 213-214 Leigh-Hunt, Barbara, 330 Leighton, Margaret, 86, 97 LES DIABOLIQUES, 227 Lesser, Julian "Bud", 137-139 Lesser, Sol, 36, 77, 85, 114, 136-145 Levy, Louis, 121 L'Hermitage (Los Angeles restaurant), 301 LIFEBOAT, 125, 247 Llewelyn, Richard, 80-81 Lockwood, Margaret, 68 Lohr, Marie, 20 London (location shooting), 126, 331-333 London Pavilion (theater), 7 Luraschi, Luigi, 216 Lux Toilet Soap, 12, 31-32 Lynch, Ken, 184 Lynn, Vera, 44 McCowen, Alec, 328 McCrorie, Alma, 172 McKelvey, Frank, 109-110, 195 MacKendrick, Alexander, 12, 31-32, 44 MAJOR BARBARA (film), 5, 12-35, 38 Malvern Girls' College, 5, 8-9 THE MAN WHO KNEW TOO MUCH (1956), 307-308 Marmstead, Percy, 138 Marnie (novel), 231-233, 279 MARNIE, 95, 107, 169, 199-200, 259, 276-285, 289, 295 Marsh, Jean, 330-331 Mary Rose (play), 297 MASK, 275, 381 Mason, James, 181 Massey, Anna, 330 Matthieu, J. P. "Pepe", 323 MEET ME AT DAWN, 45, 59-60, 83 Merchant, Vivien, 328, 359 Metro-Goldwyn-Mayer (MGM), 55, 190, 194-195, 199 Michelson, Harold, 246 Miles, Vera, 198, 214 Milo, George, 246 MOBY DICK (1956), 71 Mohr, Hal, 322 Monroe, Marilyn, 222 Moore, Brian, 286-287 Morahan, Thomas, 109, 111 Morley, Robert, 15 Mount Rushmore National Memorial (location shooting), 185, 189 Music Corporation of America (MCA), 200 Narcejac, Thomas, 199 National Association of Theatrical and Kine Employees (N.A.T.K.E.), 56, 127 National Film Board of Canada, 146 Neame, Ronald, 18, 40-41 Nesbitt, Cathleen, 363 New York City (location shooting), 178-180, 184 New York Times Book Review, 201 Newman, Paul, 149, 288-289 Newton, Robert, 20 Niven, David, 30, 35, 37-38 NO BAIL FOR THE JUDGE (unproduced film), 195, 197-198 Noiret, Philippe, 311-312, 315 NOOSE, 12, 33, 80-82 Nordemar, Olle, 138 NORTH BY NORTHWEST, 52-53, 132, 165, 172, 175-196, 203, 211-212, 247-248, 257-258, 262, 268, 289-290, 320, 325, 344 Novak, Kim, 33, 149-150, 167-171 Pagy, Martin, 18, 22 Paramount Pictures, 194, 199, 207, 224-225, 231-232, 306 Pargetter, Isabel, 57 Parker, Cecil, 97-98, 129 Pascal, Gabriel, 13-14, 16-24, 27-30, 34 Peck, Gregory, 181 Perkins, Anthony, 203, 213-214 Perry, George, 275 Phinney, Foster, 245 Piccoli, Michel, 311-312, 315 Pierce, Victor, 86 -87, 174 PIMPERNEL SMITH, 36-39 Pinewood Studios, 338 Pitman Training Centre (secretarial school), 43 Platt, Polly, 380 Plaza Athenée (Paris hotel), 279 Plaza Hotel (New York), 178-180 Pleshette, Suzanne, 222, 240 POINT BLANK, 314 Polytechnic Theater (London), 5 Pommer, Erich, 142 Powell, Michael, 283 Prince of Wales Theatre (London), 47 Production Code, 69, 288 Production Code Administration (PCA), 214-216 Psycho (novel), 201-202 PSYCHO, 53, 105-106, 133, 164-165, 181, 196-197, 201-221, 227, 229, 258, 277, 291, 295, 297, 321, 335-337, 353 PYGMALION (film), 17, 19 "Que Sera Sera" (song), 294 Radford, Basil, 66 Ramsay, Louis, 119 Randall, Frank, 48 Rank, J. Arthur, 14, 68-70 Reagan, Ronald, 115 REAR WINDOW, 220, 264, 304 REBECCA, 304 Rebello, Stephen, 229 RED DESERT, 226-227, 299 Regal Marble Arch (Hampstead theater), 6 Relph, Michael, 61-62 Reynolds, Burt, 369 Richter, Caroll, 115 Robertson, Douglas, 45-46, 61-62, 75-76, 81, 87, 136, 145-146, 249, 380-381 Robertson, Peggy -- early life and family, 5-11 Robertson, Peggy -- education, 5, 8-10 Robertson, Peggy -- begins working in British film industry, 11 Robertson, Peggy -- World War II experiences, 15-16, 22-26, 40 Robertson, Peggy -- meets Douglas Robertson and gets married, 44-46 Robertson, Peggy -- meets Alfred Hitchcock, 86 Robertson, Peggy -- becomes Hitchcock's assistant, 87, 113 Robertson, Peggy -- works for Sol Lesser, 136-145 Robertson, Peggy -- begins working for Hitchcock in the U.S. on VERTIGO, 145-146 Robertson, Peggy -- promoted to Hitchcock's assistant on PSYCHO, 205 Robertson, Peggy -- returns to London to work on FRENZY, 338-340 Robertson, Peggy -- television work, 113 Robertson, Peggy -- compares British and American film industries, 7-8, 33, 60, 68-72, 79-83, 85, 128, 338, 340 Robertson, Peggy -- on women in the film industry, 57, 302-303 ROPE (film), 90 Rose, Helen, 257 Royal Academy of Dramatic Arts, 119, 125 Royal Albert Hall (location shooting), 18 Russell, John, 204, 226 SABOTAGE, 243 Saint, Eva Marie, 177-178, 181-182, 194, 257-258 St. Regis Hotel (New York), 180 Samuel, Phil C., 27-28 San Francisco (location shooting), 161 Sardi's (New York restaurant), 302 Savoy Hotel (London), 86-87, 128 Scala Theatre (London), 126 Schlom, Marshall, 212 Scott, Helen, 273-274 screen credits, 107 script supervising, 5, 11-17, 21, 27-28, 32-34, 39, 43, 47-58, 62-63, 65, 69, 73-74, 88, 96-97, 113-114, 147-162, 186-187, 212-213 script supervising -- and gender, 54-55 script supervising -- on location, 160-161 script supervising -- pay scale, 27-28 script supervising -- use of Cinex strips, 21, 63, 150, 162 Shaffer, Anthony, 327, 331, 338 Shaw, George Bernard, 18-19 THE SHORT NIGHT (unproduced film), 298, 310, 373-374, 376-378 Sibley, Margaret, 40 Silberberg, Mitchell, 142 Sim, Alistair, 124 Sinclair, Upton, 142 Singer, Hazel (Robertson's sister), 20 Smallwood, Joan, 118 Smit, Edith, 260 Smit, Howard, 260 Smith, Stanley, 260 SO WELL REMEMBERED, 75 Society for the Prevention of Cruelty to Animals, 235-236 South, Leonard, 248-250, 266, 368-369, SPELLBOUND, 280-281 Spielberg, Steven, 231 Spoto, Donald, 346, 375, 382-383 Stafford, Babe, 254-255 Stafford, Frederick, 311 STAGE FRIGHT, 100-101, 107, 110, 113-122, 124-126, 128-133, 135-136, 213 Stefano, Joseph, 210-211, 220, 223, 277 Stewart, James, 123, 162, 265-266, 380 Studio One (London theater), 6 SUSPICION, 269, 291 Tauber, Richard, 117-118 Taylor, John Russell, 375 Taylor, Rod, 240 Taylor, Samuel, 197-198, 309 Technicolor, 71, 106 Thinnes, Roy, 174, 365 THE 39 STEPS, 176-177, 194 THIS WAS A WOMAN, 61, 84 Thorndike, Sybil, 124, 18 THE THREE HOSTAGES (unproduced film), 298 Tiomkin, Dimitri, 163 Todd, Richard, 115, 119, 122 Tomasini, George, 33, 53, 105, 170-172, 176, 203, 247-250, 265, 282 Topaz (novel), 308 TOPAZ, 290, 296, 302, 308-327 TORN CURTAIN, 103-105, 149, 165-166, 282-283, 286-296, 299-300, 324 Toumanova, Tamara, 293 training films, 64-66 Transatlantic Pictures (production company), 102 Trautonium (musical instrument), 263 Tree, David, 67 Tremayne, Les, 183 THE TROUBLE WITH HARRY, 181 Truffaut, François, 272-275, 346, 360 Twentieth Century Limited (train), 178 Two Cities (production company), 41, 58 UNDER CAPRICORN, 60, 86-98, 102, 106-112, 116, 130-132, 155 United Kingdom, film industry -- Kine-Weekly (trade journal), 11 United Kingdom, film industry -- making films for American market, 68-70 United Kingdom, film industry -- National Film Development Council, 7-8 United Kingdom, film industry -- Official Secret Act, 57 United Kingdom, film industry -- quota films, 7, 58, 79 United Kingdom, film industry -- wartime film production, 15-16, 22-26, 40, 42, 63-68, 72-73 United Nations Building (location shooting), 184-185 Universal Pictures, 223-225, 228, 231-232, 289, 306 Uris, Leon, 296, 309, 317 Valin, Pierre "Frenchy", 262 Varnel, Marcel, 52, 74, 84 Vernon, John, 314 VERTIGO, 33, 99, 109, 114, 147, 149-155, 161-171, 173-175, 192, 199, 207, 214, 361-362, 365, 372 Vetchinsky, Alex, 339 Wasserman, Lew, 200, 223-224, 301 "We'll Meet Again" (song), 44 Wellesley, Gordon, 49 Wheeler, Lionel, 28 Whelan, Tim, 84 WHISPERING SMITH VS. SCOTLAND YARD, 139-140 Whitelaw, Billy, 330 Whitlock, Albert, 185-186, 235, 246, 255 Wilder, Billy, 231 Wilding, Michael, 92, 96, 118, 122, 129 Wilkinson, Hazel, 28 Williams, John (actor), 181, 197, 373 Wimpy, Rex, 250 Woolrich, Cornell, 220 World War II, 15-16, 22-26, 37-39, 40, 42, 63-68, 72-73 THE WRECK OF THE MARY DEARE (unproduced film), 175-176 THE WRONG MAN, 291 Wyman, Jane, 115, 118 Yates, Leo, 236-237 Zeigler, William, 172, 322