Sir Alfred Joseph Hitchcock (13 August 1899 – 29 April 1980) was an English filmmaker. He is widely regarded as one of the most influential figures in the history of cinema. In a career spanning six decades, he directed over 50 feature films, many of which are still widely watched and studied today. Known as the "Master of Suspense", he became as well known as any of his actors thanks to his many interviews, his cameo roles in most of his films, and his hosting and producing the television anthology Alfred Hitchcock Presents (1955–65). His films garnered 46 Academy Award nominations, including six wins, although he never won the award for Best Director despite five nominations. Hitchcock initially trained as a technical clerk and copywriter before entering the film industry in 1919 as a title card designer. His directorial debut was the British-German silent film The Pleasure Garden (1925). His first successful film, The Lodger: A Story of the London Fog (1927), helped to shape the thriller genre, and Blackmail (1929) was the first British "talkie". His thrillers The 39 Steps (1935) and The Lady Vanishes (1938) are ranked among the greatest British films of the 20th century. By 1939, he had international recognition and producer David O. Selznick persuaded him to move to Hollywood. A string of successful films followed, including Rebecca (1940), Foreign Correspondent (1940), Suspicion (1941), Shadow of a Doubt (1943), and Notorious (1946). Rebecca won the Academy Award for Best Picture, with Hitchcock nominated as Best Director; he was also nominated for Lifeboat (1944) and Spellbound (1945). After a brief commercial lull, he returned to form with Strangers on a Train (1951) and Dial M for Murder (1954); he then went on to direct four films often ranked among the greatest of all time: Rear Window (1954), Vertigo (1958), North by Northwest (1959) and Psycho (1960), the first and last of these garnering him Best Director nominations. The Birds (1963) and Marnie (1964) were also financially successful and are highly regarded by film historians. The "Hitchcockian" style includes the use of editing and camera movement to mimic a person's gaze, thereby turning viewers into voyeurs, and framing shots to maximise anxiety and fear. The film critic Robin Wood wrote that the meaning of a Hitchcock film "is there in the method, in the progression from shot to shot. A Hitchcock film is an organism, with the