In MURDER! (1930), Alfred Hitchcock walks past the stars of the movie. © Wardour Films

In THE 39 STEPS (1935), director Alfred Hitchcock can be spotted walking by a bus stop. Towards the beginning of the film, both Hitchcock and the screenwriter Charles Bennett can be seen walking past the bus that Robert Donat and Lucie Mannheim board outside the music hall. The bus is on London Transport's number 25 route, which runs from Oxford Street through the East End and on to Leytonstone. This was familiar ground to Hitchcock, who lived in Leytonstone and then in Stepney (in the East End) as a youth. The director's appearance can thus be seen as an assertion of his connection with the area, but he was by no means romanticizing it. As the bus pulls up he litters by throwing a cigarette packet on the ground. © Gaumont British Distributors

In YOUNG AND INNOCENT (1937), director Alfred Hitchcock is exchanging unfriendly looks with a policeman. © Gaumont Film Company

At the end of THE LADY VANISHES (1938), director Alfred Hitchcock is carrying a lunchbox and smoking. © United Artists

Alfred Hitchcock's cameo appearance in SABOTEUR (1942) was originally going to be shared with co-screenwriter Dorothy Parker. In the scene where an older couple drives by the hero struggling with the reluctant model on the side of the road, the director drove the car and the writer, as the wife, delivered the line, "They must be terribly in love." After watching the dailies, however, Hitchcock thought their appearance was too distracting from the story, so he re-shot it with professional actors. © Universal Pictures He then decided to cast himself in a cameo as a man using sign language to convey an apparently bold comment to a deaf woman (played by his secretary Carol Stevens), who promptly slaps him. But the studio thought that would be offensive to people with hearing disabilities, so Hitchcock decided to make his cameo extremely brief, appearing at the window of a drugstore, just under the word "Rate". Blink and you'll miss him.

In one of Alfred Hitchcock's sneakiest cameos, in the one-set LIFEBOAT (1944), as the Reduco 'before and after model' in a newspaper ad. He once commented to François Truffaut -- in Hitchcock/Truffaut (Simon and Schuster, 1967) -- that this particular cameo was difficult to achieve, due to the lack of passers-by in the film. While having originally considered posing as a body floating past the lifeboat -- which he later considered for his cameo in FRENZY -- after his success with weight loss, Hitchcock decided to pose for "before" and "after" photos for an advertisement for a fictional weight-loss drug, "Reduco", shown in a newspaper which was in the boat. Supposedly, he later received hundreds of letters from people asking where they could buy Reduco, which he used again in ROPE, where Hitchcock's profile and Reduco appear on a red neon sign © 20th Century Fox

In SPELLBOUND (1945), Alfred Hitchcock can be seen coming out of an elevator at the Empire State Hotel, carrying a violin case and smoking a cigarette. The trailer for SPELLBOUND′s original theatrical release in America made a great deal of fuss over this cameo, showing the footage twice and even freeze-framing Hitchcock's brief appearance while a breathless narrator informs us that this ordinary-looking man is the film's director. © United Artists

Alfred Hitchcock's cameo in NOTORIOUS (1946), as a party guest at Ingrid Bergman's estate. © RKO Radio Pictures

Alfred Hitchcock's cameo appearance in STRANGERS ON A TRAIN (1951), carrying a double bass fiddle as star Farley Granger gets off the train. © Warner Bros.

In DIAL M FOR MURDER (1954) Alfred Hitchcock showed up in a photograph, sitting at a table with two of the movie's other stars. © Warner Bros.

Alfred Hitchcock's cameo in REAR WINDOW (1954), winding the clock in the songwriter's apartment played by real-life songwriter Ross Bagdasarian, creator of Alvin and the Chipmunks. Hitchcock has a cameo in almost all of his films. © Universal Pictures

Here is Alfred Hitchcock's cameo from THE BIRDS (1963) at the beginning of the movie, and yes, those are his own Sealyham terriers, Geoffrey and Stanley © Universal Pictures

Alfred Hitchcock's cameo in FAMILY PLOT (1976), his final film. © Universal Pictures

In MURDER! (1930), Alfred Hitchcock walks past the stars of the movie. © Wardour Films

In THE 39 STEPS (1935), director Alfred Hitchcock can be spotted walking by a bus stop. Towards the beginning of the film, both Hitchcock and the screenwriter Charles Bennett can be seen walking past the bus that Robert Donat and Lucie Mannheim board outside the music hall. The bus is on London Transport's number 25 route, which runs from Oxford Street through the East End and on to Leytonstone. This was familiar ground to Hitchcock, who lived in Leytonstone and then in Stepney (in the East End) as a youth. The director's appearance can thus be seen as an assertion of his connection with the area, but he was by no means romanticizing it. As the bus pulls up he litters by throwing a cigarette packet on the ground. © Gaumont British Distributors

In YOUNG AND INNOCENT (1937), director Alfred Hitchcock is exchanging unfriendly looks with a policeman. © Gaumont Film Company

At the end of THE LADY VANISHES (1938), director Alfred Hitchcock is carrying a lunchbox and smoking. © United Artists

Alfred Hitchcock's cameo appearance in SABOTEUR (1942) was originally going to be shared with co-screenwriter Dorothy Parker. In the scene where an older couple drives by the hero struggling with the reluctant model on the side of the road, the director drove the car and the writer, as the wife, delivered the line, "They must be terribly in love." After watching the dailies, however, Hitchcock thought their appearance was too distracting from the story, so he re-shot it with professional actors. © Universal Pictures He then decided to cast himself in a cameo as a man using sign language to convey an apparently bold comment to a deaf woman (played by his secretary Carol Stevens), who promptly slaps him. But the studio thought that would be offensive to people with hearing disabilities, so Hitchcock decided to make his cameo extremely brief, appearing at the window of a drugstore, just under the word "Rate". Blink and you'll miss him.

In one of Alfred Hitchcock's sneakiest cameos, in the one-set LIFEBOAT (1944), as the Reduco 'before and after model' in a newspaper ad. He once commented to François Truffaut -- in Hitchcock/Truffaut (Simon and Schuster, 1967) -- that this particular cameo was difficult to achieve, due to the lack of passers-by in the film. While having originally considered posing as a body floating past the lifeboat -- which he later considered for his cameo in FRENZY -- after his success with weight loss, Hitchcock decided to pose for "before" and "after" photos for an advertisement for a fictional weight-loss drug, "Reduco", shown in a newspaper which was in the boat. Supposedly, he later received hundreds of letters from people asking where they could buy Reduco, which he used again in ROPE, where Hitchcock's profile and Reduco appear on a red neon sign © 20th Century Fox

In SPELLBOUND (1945), Alfred Hitchcock can be seen coming out of an elevator at the Empire State Hotel, carrying a violin case and smoking a cigarette. The trailer for SPELLBOUND′s original theatrical release in America made a great deal of fuss over this cameo, showing the footage twice and even freeze-framing Hitchcock's brief appearance while a breathless narrator informs us that this ordinary-looking man is the film's director. © United Artists

Alfred Hitchcock's cameo in NOTORIOUS (1946), as a party guest at Ingrid Bergman's estate. © RKO Radio Pictures

Alfred Hitchcock's cameo appearance in STRANGERS ON A TRAIN (1951), carrying a double bass fiddle as star Farley Granger gets off the train. © Warner Bros.

In DIAL M FOR MURDER (1954) Alfred Hitchcock showed up in a photograph, sitting at a table with two of the movie's other stars. © Warner Bros.

Alfred Hitchcock's cameo in REAR WINDOW (1954), winding the clock in the songwriter's apartment played by real-life songwriter Ross Bagdasarian, creator of Alvin and the Chipmunks. Hitchcock has a cameo in almost all of his films. © Universal Pictures

Here is Alfred Hitchcock's cameo from THE BIRDS (1963) at the beginning of the movie, and yes, those are his own Sealyham terriers, Geoffrey and Stanley © Universal Pictures

Alfred Hitchcock's cameo in FAMILY PLOT (1976), his final film. © Universal Pictures