The actors were also asked to quote an anecdote from the famous interview series which François Truffaut carried out in the 1960s with the master – a typical story Hitchcock uses to describe the term McGuffin, the fact or object which serves as the guideline for a story, without having any relevance itself. During the recordings of ’Looking for Alfred’ it turned out that Hitchcock had become a McGuffin himself. The search for the ultimate Hitchcock, the making process of the film, surfaced a certain degree of emptiness. This void, represented by the McGuffin, unexpectedly turns into a major drive and ultimately the main idea behind the project. The film itself, recorded in the Palais des Beaux-Arts/Paleis voor Schone Kunsten in Brussels, unfolds itself like a labyrinth of reflections, echoes and quotes from the work by the master himself, as well as those of that other great modernist, Réné Magritte. According to Grimonprez they share a similar iconography, often referring to ideas of cloning, mirror images, projections and mistaken identities. They both, as Grimonprez indicates, tried to create a kind of “Photoshop-reality”, in a sense an anticipation of today’s look-alike-culture and the osmosis between Hollywood cinema and reality. This twilight zone between reality and fiction, between ‘genuine’ and ‘fake’ constitutes the guideline through ’Looking for Alfred’.