<P> Hitchcock's longest cameo appearances are in his British films Blackmail and Young and Innocent . He appears in all 30 features from Rebecca (his first American film) onward; before his move to Hollywood, he only occasionally performed cameos . </P> <P> This is a list of Hitchcock's cameo appearances in films that he directed . </P> <Table> <Tr> <Th> Title </Th> <Th> Year </Th> <Th> H: M (: S) </Th> <Th> Description </Th> </Tr> <Tr> <Td> The Birds </Td> <Td> 1963 </Td> <Td> 0: 02: 18 </Td> <Td> Leaving the pet shop with two of his own Sealyham terriers, Geoffrey and Stanley, as Tippi Hedren enters . </Td> </Tr> <Tr> <Td> Blackmail </Td> <Td> 1929 </Td> <Td> 0: 10: 25 </Td> <Td> Being bothered by a small boy as he reads a book on the London Underground . This cameo is 19 seconds long . </Td> </Tr> <Tr> <Td> Dial M for Murder </Td> <Td> 1954 </Td> <Td> 0: 13: 13 </Td> <Td> On the left side in the class - reunion photo . </Td> </Tr> <Tr> <Td> Easy Virtue </Td> <Td> 1928 </Td> <Td> 0: 21: 15 </Td> <Td> Walking past a tennis court carrying a walking stick . </Td> </Tr> <Tr> <Td> Family Plot </Td> <Td> 1976 </Td> <Td> 0: 40: 00 </Td> <Td> In silhouette through the door of the Registrar of Births and Deaths . </Td> </Tr> <Tr> <Td> Foreign Correspondent </Td> <Td> 1940 </Td> <Td> 0: 12: 44 </Td> <Td> After Joel McCrea leaves his hotel, wearing a coat and hat and reading a newspaper . </Td> </Tr> <Tr> <Td> Frenzy </Td> <Td> 1972 </Td> <Td> 0: 04: 07 </Td> <Td> In the center of a crowd, wearing a bowler hat; he is the only one not applauding the speaker; and a minute later, right after the victim washes ashore, standing next to a gray - haired man with a gray beard . </Td> </Tr> <Tr> <Td> I Confess </Td> <Td> 1953 </Td> <Td> 0: 01: 33 </Td> <Td> Crossing the top of a flight of steps . </Td> </Tr> <Tr> <Td> The Lady Vanishes </Td> <Td> 1938 </Td> <Td> 1: 32: 31 </Td> <Td> In Victoria Station, wearing a black coat, smoking a cigarette, and making a strange movement with his head . </Td> </Tr> <Tr> <Td> Lifeboat </Td> <Td> 1944 </Td> <Td> 0: 00: 25 </Td> <Td> In the "before" and "after" pictures in the newspaper ad for "Reduco Obesity Slayer". </Td> </Tr> <Tr> <Td> The Lodger </Td> <Td> 1927 </Td> <Td> 0: 03 </Td> <Td> At a desk in the newsroom . </Td> </Tr> <Tr> <Td> 0: 01: 34 </Td> <Td> In the mob scene next to Detective Joe who's bearing the lodger's weight on the fence by holding his arms . </Td> </Tr> <Tr> <Td> The Man Who Knew Too Much </Td> <Td> 1956 </Td> <Td> 0: 25: 12 </Td> <Td> As the McKennas watch the acrobats in market place, Hitchcock appears at the left in a suit and puts his hands in his pockets . </Td> </Tr> <Tr> <Td> The Man Who Knew Too Much </Td> <Td> 1934 </Td> <Td> 0: 33: 25 </Td> <Td> Walking across a road in a dark trench coat as a bus passes . </Td> </Tr> <Tr> <Td> Marnie </Td> <Td> 1964 </Td> <Td> 0: 00: 05 </Td> <Td> Entering from the left of the hotel corridor after Tippi Hedren passes by, and clearly breaking the fourth wall by looking the audience straight in the eye . </Td> </Tr> <Tr> <Td> Mr. & Mrs. Smith </Td> <Td> 1941 </Td> <Td> 0: 42: 57 </Td> <Td> Passing Robert Montgomery in front of his building . </Td> </Tr> <Tr> <Td> Murder! </Td> <Td> 1930 </Td> <Td> 0: 59: 45 </Td> <Td> Walking past the house where the murder was committed with a female companion, at the end of Sir John's visit to the scene with Markham and his wife Lucy . </Td> </Tr> <Tr> <Td> North by Northwest </Td> <Td> 1959 </Td> <Td> 0: 02: 09 </Td> <Td> Missing a bus, just after his credit passes off screen during the title sequence . </Td> </Tr> <Tr> <Td> Notorious </Td> <Td> 1946 </Td> <Td> 1: 04: 44 </Td> <Td> At the big party in Claude Rains' mansion, drinking champagne and then quickly departing . </Td> </Tr> <Tr> <Td> Number Seventeen </Td> <Td> 1932 </Td> <Td> 0: 51: 25 </Td> <Td> On the bus amongst other passengers, in a dark coat and hat, facing away, he bounces up and down; approx . four seconds . </Td> </Tr> <Tr> <Td> The Paradine Case </Td> <Td> 1947 </Td> <Td> 0: 38: 00 </Td> <Td> Leaving the train at a railway station, carrying a cello case . </Td> </Tr> <Tr> <Td> Psycho </Td> <Td> 1960 </Td> <Td> 0: 06: 59 </Td> <Td> Seen through an office window wearing a Stetson cowboy hat as Janet Leigh comes through the door . </Td> </Tr> <Tr> <Td> Rear Window </Td> <Td> 1954 </Td> <Td> 0: 26: 12 </Td> <Td> Winding the clock in the songwriter's apartment . </Td> </Tr> <Tr> <Td> Rebecca </Td> <Td> 1940 </Td> <Td> 2: 06: 57 </Td> <Td> Walking near the phone booth just after George Sanders makes a call . </Td> </Tr> <Tr> <Td> Rope </Td> <Td> 1948 </Td> <Td> 0: 55: 00 </Td> <Td> In the background as a red flashing neon sign of his trademark profile . </Td> </Tr> <Tr> <Td> Sabotage </Td> <Td> 1936 </Td> <Td> 0: 08: 56 </Td> <Td> Just after the lights come back on in front of the Bijou, looking up as he crosses in front of the crowd . </Td> </Tr> <Tr> <Td> Saboteur </Td> <Td> 1942 </Td> <Td> 1: 04: 45 </Td> <Td> Standing in front of "Cut Rate Drugs" as the saboteurs' car stops . </Td> </Tr> <Tr> <Td> Shadow of a Doubt </Td> <Td> 1943 </Td> <Td> 0: 16: 27 </Td> <Td> On the train to Santa Rosa, playing cards, back to the camera . </Td> </Tr> <Tr> <Td> Spellbound </Td> <Td> 1945 </Td> <Td> 0: 38: 50 </Td> <Td> Coming out of an elevator at the Empire State Hotel, carrying a violin case and smoking a cigarette . </Td> </Tr> <Tr> <Td> Stage Fright </Td> <Td> 1950 </Td> <Td> 0: 39: 49 </Td> <Td> Turning to look back at Jane Wyman in her disguise as Marlene Dietrich's maid . </Td> </Tr> <Tr> <Td> Strangers on a Train </Td> <Td> 1951 </Td> <Td> 0: 10: 34 </Td> <Td> Boarding a train with a double bass as Farley Granger gets off in his hometown . </Td> </Tr> <Tr> <Td> Suspicion </Td> <Td> 1941 </Td> <Td> 0: 03: 25 </Td> <Td> Walking a horse across the screen at the hunt meet . </Td> </Tr> <Tr> <Td> 0: 44: 58 </Td> <Td> Mailing a letter at the village postbox (long shot). </Td> </Tr> <Tr> <Td> The 39 Steps </Td> <Td> 1935 </Td> <Td> 0: 06: 56 </Td> <Td> The man tossing a white cigarette box while the bus pulls up for Robert Donat and Lucie Mannheim to leave the theatre . </Td> </Tr> <Tr> <Td> To Catch a Thief </Td> <Td> 1955 </Td> <Td> 0: 09: 40 </Td> <Td> Sitting next to Cary Grant on the bus . </Td> </Tr> <Tr> <Td> Topaz </Td> <Td> 1969 </Td> <Td> 0: 32: 27 </Td> <Td> Being pushed in a wheelchair in the airport . Hitchcock gets up from the chair, shakes hands with a man, and walks off to the right . </Td> </Tr> <Tr> <Td> Torn Curtain </Td> <Td> 1966 </Td> <Td> 0: 00: 08 </Td> <Td> Sitting in the Hotel d'Angleterre lobby with a baby on his knee . He shifts the child from one knee to the other . The music playing at this point in the film is an adaptation of Charles Gounod's Funeral March of a Marionette, a song now associated with Hitchcock due to it being used as the theme for his television series Alfred Hitchcock Presents </Td> </Tr> <Tr> <Td> The Trouble with Harry </Td> <Td> 1955 </Td> <Td> 0: 22: 14 </Td> <Td> Seen outside of the window--the man walking past the parked limousine of an old man who is looking at paintings . </Td> </Tr> <Tr> <Td> Under Capricorn </Td> <Td> 1949 </Td> <Td> 0: 02: 11 </Td> <Td> In the town square during new governor's speech, wearing a blue coat and brown hat . </Td> </Tr> <Tr> <Td> 0: 12: 17 </Td> <Td> One of three men on the steps of Government House . </Td> </Tr> <Tr> <Td> Vertigo </Td> <Td> 1958 </Td> <Td> 0: 11: 40 </Td> <Td> In a grey suit walking in the street with a trumpet case . </Td> </Tr> <Tr> <Td> The Wrong Man </Td> <Td> 1956 </Td> <Td> 0: 00: 18 </Td> <Td> Seen in silhouette narrating the film's prologue . Donald Spoto's biography says that Hitchcock chose to make an explicit appearance in this film (rather than a cameo) to emphasize that, unlike his other movies, The Wrong Man was a true story about an actual person . </Td> </Tr> <Tr> <Td> Young and Innocent </Td> <Td> 1937 </Td> <Td> 0: 15: 00 </Td> <Td> Outside the courthouse, holding a camera . </Td> </Tr> </Table> <Tr> <Th> Title </Th> <Th> Year </Th> <Th> H: M (: S) </Th> <Th> Description </Th> </Tr>

When does alfred hitchcock appear in the man who knew too much
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