François Truffaut, a leading New Wave director, called Hitchcock “the most complete filmmaker” in America, “an all-round specialist, who excels at every image, each shot, and every scene.”

Truffaut’s praise accurately pointed to Hitchcock’s deliberate directorial style and vast technical knowledge. The director was known for his meticulous planning of every shot—before filming, he would sketch each scene with a list of every possible camera angle—and his complete refusal to improvise or deviate from his planned shooting schedule. He was also famous for his dislike of actors, famously stating that “all actors are children” and “should be treated like cattle.” Hitchcock did admire certain actors, however, and worked with them often: his favorites included Cary Grant (Suspicion, Notorious, 1955’s To Catch a Thief, and North by Northwest); James Stewart (Rope, Rear Window, the 1956 remake of The Man Who Knew Too Much, and Vertigo); Vera Miles (Psycho and 1956’s The Wrong Man); and Grace Kelly, an actress whom Hitchcock adored and cast as the elegant blonde lead in Rear Window, Dial M for Murder (1954), and To Catch a Thief. Among the other well-known actors Hitchcock worked with were Olivier, Ingrid Bergman (Spellbound, Notorious, 1949’s Under Capricorn), Gregory Peck (Spellbound, 1947’s The Paradine Case), Marlene Dietrich (1950’s Stage Fright), Carole Lombard (1941’s Mr. and Mrs. Smith), Tallulah Bankhead (1944’s Lifeboat), and Paul Newman (1966’s Torn Curtain).

In addition to the huge successes of his films—many of which he produced as well as directed—Hitchcock gained a greater measure of celebrity as the host of two popular television series: Alfred Hitchcock Presents, which ran from 1955 to 1965, and The Alfred Hitchcock Hour, which ran from 1962 to 1965. In addition to Hitchcock’s distinctive personality and sardonic commentary, both shows featured short suspense stories, some directed by such acclaimed filmmakers as Sydney Pollack, Robert Altman, and Hitchcock himself. The rotund, immensely recognizable director also appeared (momentarily, at least) in bit roles in almost all of his own films.

Hitchcock, who never won an Oscar for Best Director, was nominated five times in that category, for Rebecca in 1940, Lifeboat in 1944, Spellbound in 1945, Rear Window in 1954, and Psycho in 1960. In addition to his Best Picture Oscar for Rebecca, which he also produced, Hitchcock was awarded the 1967 Irving G. Thalberg Memorial Award of the Academy of Motion Picture Arts and Sciences for his contributions as a producer.