Meanwhile, Samuels worked on the hair: "Anthony has a full head of white hair. I shaved his head and colored the hair in and left the white sides out and put a little lace hair piece on the top to give it a wispy, balding effect to complement the makeup that Howard did."
Berger was apprehensive at first about "Hitchcock" being shot digitally. But this worked out well because cinematographer Jeff Cronenweth lit it for film with the Red Epic. They'd be watching on a monitor and asked for a light adjustment to make the makeup less apparent and Cronenweth accommodated them.
Interestingly, though, the application routine between Berger and lead makeup artist Peter Montagna was almost balletic, the way they simultaneously worked each side of Hopkins' face. Berger maintains that the trick, of course, was not taking the viewer out of the movie. Hopkins played along by sneaking into his dressing room on the Paramount lot every day and emerging as Hitch when they were ready to shoot.
However, Hopkins occasionally broke character with Berger to do spot-on Jerry Lewis impressions in honor of shooting on the same backlot where the comedian/director made his movies.
But it is "Psycho" that remains near and dear to Berger's heart as his favorite Hitchcock movie. "Through the course of the shooting, we had visitors that worked with Hitchcock on 'Psycho,' who thought we had gone back in time, and that was the greatest compliment we could get," he regales.
Hitchcock Making of Featurette