Alfred Hitchcock Cameo Apperances in his own films:

THE 39 STEPS (1935): Tossing some litter while Robert Donat and Lucie Mannheim run from the theater, seven minutes into the movie.

YOUNG AND INNOCENT (1938): Outside the courthouse, holding a camera.

THE LADY VANISHES (1938): Very near the end of the movie, in Victoria Station, wearing a black coat and smoking a cigarette.

REBECCA (1940): Walking near the phone booth in the final part of the film just after George Sanders makes a call.

FOREIGN CORRESPONDENT (1940): Early in the movie, after Joel McCrea leaves his hotel, wearing a coat and hat and reading a newspaper.

MR. AND MRS. SMITH (1941): Midway through, passing Robert Montgomery in front of his building.

SUSPICION (1941): mailing a letter at the village postbox about 45 minutes in.

SABOTEUR (1942): Standing in front of Cut Rate Drugs in New York as the saboteur's car stops, an hour in.

SHADOW OF A DOUBT (1943): On the train to Santa Rosa, playing cards.

LIFEBOAT (1944): In the "before" and "after" pictures in the newspaper ad for Reduco Obesity Slayer.

SPELLBOUND (1945): Coming out of an elevator at the Empire Hotel, carrying a violin case and smoking a cigarette, 40 minutes in.

NOTORIOUS (1946): At a big party in Claude Rains's mansion, drinking champae and then quickly departing, an hour after the film begins.

THE PARADINE CASE (1947): Leaving the train and Cumberland Station, carrying a cello.

ROPE (1948): His trademark can be seen briefly on a neon sign in the view from the apartment window.

UNDER CAPRICORN (1949): In the town square during a parade, wearing a blue coat and brown hat, in the first five minutes. Ten minutes later, he is one of three men on the steps of Government House.

STAGE FRIGHT (1950): Turning to look at Jane Wyman in her disguise as Marlene Dietrich's maid.

STRANGERS ON A TRAIN (1951): Boarding a train with a double bass fiddle as Farley Granger gets off in his hometown, early in the film.

I CONFESS (1953): Crossing the top of a staircase after the opening credits.

DIAL M FOR MURDER (1954): On the left side of the class-reunion photo, thirteen minutes into the film.

REAR WINDOW (1954): Winding the clock in the songwriter's apartment, a half hour into the movie.

TO CATCH A THIEF (1955): Ten minutes in, sitting to the left of Cary Grant on a bus.

THE TROUBLE WITH HARRY (1955): Walking past the parked limousine of an old man who is looking at paintings, twenty minutes into the film.

THE MAN WHO KNEW TOO MUCH (1956): Watching acrobats in the Moroccan marketplace (his back to the camera) just before the murder.

THE WRONG MAN (1956): Narrating the film's prologue.

VERTIGO (1958): In a gray suit walking in the street, eleven minutes in.

NORTH BY NORTHWEST (1959): Missing a bus during the opening credits.

PSYCHO (1960): Four minutes in, through Janet Leigh's window as she returns to her office. He is wearing a cowboy hat.

THE BIRDS (1963): Leaving the pet shop with two white terriers as Tippi Hedren enters.

MARNIE (1964): Entering from the left of the hotel corridor after Tippi Hedren passes by, five minutes in.

TORN CURTAIN (1966): Early in the film, sitting in the Hotel d'Angleterre lobby with a blond baby.

TOPAZ (1969): Being pushed in a wheelchair in an airport, half an hour in. Hitchcock gets up from the chair, shakes hands with a man, and walks off to the right.

FRENZY (1972): In the center of a crowd, wearing a bowler hat, three
minutes into the film; he is the only one not applauding the speaker.

FAMILY PLOT (1976): In silhouette through the door of the Registrar of
Births and Deaths, 41 minutes into the movie.