The 33 Strategies of War (9 page)

THE DETACHED-BUDDHA TACTIC

Watching the movie director Alfred Hitchcock (1899-1980) at work on a film set was often quite a surprise to those seeing it for the first time. Most filmmakers are wound-up balls of energy, yelling at the crew and barking out orders, but Hitchcock would sit in his chair, sometimes dozing, or at least with his eyes half closed. On the set of
Strangers on a Train
, made in 1951, the actor Farley Granger thought Hitchcock's behavior meant he was angry or upset and asked him if anything was wrong. "Oh," Hitchcock replied sleepily, "I'm so bored." The crew's complaints, an actor's tantrums--nothing fazed him; he would just yawn, shift in his chair, and ignore the problem. "Hitchcock...didn't seem to direct us at all," said the actress Margaret Lockwood. "He was a dozing, nodding Buddha with an enigmatic smile on his face."

It was hard for Hitchcock's colleagues to understand how a man doing such stressful work could stay so calm and detached. Some thought it was part of his character--that there was something inherently cold-blooded about him. Others thought it a gimmick, a put-on. Few suspected the truth: before the filmmaking had even begun, Hitchcock would have prepared for it with such intense attention to detail that nothing could go wrong. He was completely in control; no temperamental actress, no panicky art director, no meddling producer could upset him or interfere with his plans. Feeling such absolute security in what he had set up, he could afford to lie back and fall asleep.

Hitchcock's process began with a storyline, whether from a novel or an idea of his own. As if he had a movie projector in his head, he would begin to visualize the film. Next, he would start meeting with a writer, who would soon realize that this job was unlike any other. Instead of taking some producer's half-baked idea and turning it into a screenplay, the writer was simply there to put on paper the dream trapped in Hitchcock's mind. He or she would add flesh and bones to the characters and would of course write the dialog, but not much else. When Hitchcock sat down with the writer Samuel Taylor for the first script meeting on the movie
Vertigo
(1958), his descriptions of several scenes were so vivid, so intense, that the experiences seemed almost to have been real, or maybe something he had dreamed. This completeness of vision foreclosed creative conflict. As Taylor soon realized, although he was writing the script, it would remain a Hitchcock creation.

Once the screenplay was finished, Hitchcock would transform it into an elaborate shooting script. Blocking, camera positions, lighting, and set dimensions were spelled out in detailed notes. Most directors leave themselves some latitude, shooting scenes from several angles, for example, to give the film editor options to work with later on. Not Hitchcock: he essentially edited the entire film in the shooting script. He knew exactly what he wanted and wrote it down. If a producer or actor tried to add or change a scene, Hitchcock was outwardly pleasant--he could afford to pretend to listen--but inside he was totally unmoved.

Nothing was left to chance. For the building of the sets (quite elaborate in a movie like
Rear Window
), Hitchcock would present the production designer with precise blueprints, floor plans, incredibly detailed lists of props. He supervised every aspect of set construction. He was particularly attentive to the clothes of his leading actresses: according to Edith Head, costumer on many Hitchcock movies, including
Dial M for Murder
in 1954, "There was a reason for every color, every style, and he was absolutely certain about everything he settled on. For one scene he saw [Grace Kelly] in pale green, for another in white chiffon, for another in gold. He was really putting a dream together in the studio." When the actress Kim Novak refused to wear a gray suit in
Vertigo
because she felt it made her look washed out, Hitchcock told her he wanted her to look like a woman of mystery who had just stepped out of the San Francisco fog. How could she argue with that? She wore the suit.

Hitchcock's actors found working with him strange yet pleasant. Some of Hollywood's best--Joseph Cotten, Grace Kelly, Cary Grant, Ingrid Bergman--said that he was the easiest director to work for: his nonchalance was catching, and since his films were so carefully staged as not to depend on the actor's performance in any particular scene, they could relax. Everything went like clockwork. As James Stewart told the cast of
The Man Who Knew Too Much
(1956), "We're in the hands of an expert here. You can lean on him. Just do everything he tells you and the whole thing will be okay."

As Hitchcock sat calmly on the set, apparently half asleep, the cast and crew could see only the small part each one played. They had no idea how everything fit into his vision. When Taylor saw
Vertigo
for the first time, it was like seeing another man's dream. The film neatly duplicated the vision Hitchcock had expressed to him many months before.

Interpretation

The first film Hitchcock directed was
The Pleasure Garden
, a silent he made in 1925. The production went wrong in every conceivable way. Hitchcock hated chaos and disorder; unexpected events, panicky crew members, and any loss of control made him miserable. From that point on, he decided, he would treat filmmaking like a military operation. He would give his producers, actors, and crew no room to mess up what he wanted to create. He taught himself every aspect of film production: set design, lighting, the technicalities of cameras and lenses, editing, sound. He ran every stage of the film's making. No shadow could fall between the planning and the execution.

Establishing control in advance the way Hitchcock did might not seem like presence of mind, but it actually takes that quality to its zenith. It means entering battle (in Hitchcock's case a film shoot) feeling calm and ready. Setbacks may come, but you will have foreseen them and thought of alternatives, and you are ready to respond. Your mind will never go blank when it is that well prepared. When your colleagues barrage you with doubts, anxious questions, and slipshod ideas, you may nod and pretend to listen, but really you're ignoring them--you've out-thought them in advance. And your relaxed manner will prove contagious to other people, making them easier to manage in turn.

It is easy to be overwhelmed by everything that faces you in battle, where so many people are asking or telling you what to do. So many vital matters press in on you that you can lose sight of your goals and plans; suddenly you can't see the forest for the trees. Understand: presence of mind is the ability to detach yourself from all that, to see the whole battlefield, the whole picture, with clarity. All great generals have this quality. And what gives you that mental distance is preparation, mastering the details beforehand. Let people think your Buddha-like detachment comes from some mysterious source. The less they understand you the better.

For the love of God, pull yourself together and do not look at things so darkly: the first step backward makes a poor impression in the army, the second step is dangerous, and the third becomes fatal.

--Frederick the Great (1712-86), letter to a general

KEYS TO WARFARE

We humans like to see ourselves as rational creatures. We imagine that what separates us from animals is the ability to think and reason. But that is only partly true: what distinguishes us from animals just as much is our capacity to laugh, to cry, to feel a range of emotions. We are in fact emotional creatures as well as rational ones, and although we like to think we govern our actions through reason and thought, what most often dictates our behavior is the emotion we feel in the moment.

We maintain the illusion that we are rational through the routine of our daily affairs, which helps us to keep things calm and apparently controlled. Our minds seem rather strong when we're following our routines. But place any of us in an adverse situation and our rationality vanishes; we react to pressure by growing fearful, impatient, confused. Such moments reveal us for the emotional creatures we are: under attack, whether by a known enemy or unpredictably by a colleague, our response is dominated by feelings of anger, sadness, betrayal. Only with great effort can we reason our way through these periods and respond rationally--and our rationality rarely lasts past the next attack.

Understand: your mind is weaker than your emotions. But you become aware of this weakness only in moments of adversity--precisely the time when you need strength. What best equips you to cope with the heat of battle is neither more knowledge nor more intellect. What makes your mind stronger, and more able to control your emotions, is internal discipline and toughness.

No one can teach you this skill; you cannot learn it by reading about it. Like any discipline, it can come only through practice, experience, even a little suffering. The first step in building up presence of mind is to see the need for it--to want it badly enough to be willing to work for it. Historical figures who stand out for their presence of mind--Alexander the Great, Ulysses S. Grant, Winston Churchill--acquired it through adversity, through trial and error. They were in positions of responsibility in which they had to develop this quality or sink. Although these men may have been blessed with an unusual amount of personal fortitude, they had to work hard to strengthen this into presence of mind.

The first quality of a General-in-Chief is to have a cool head which receives exact impressions of things, which never gets heated, which never allows itself to be dazzled, or intoxicated, by good or bad news. The successive simultaneous sensations which he receives in the course of a day must be classified, and must occupy the correct places they merit to fill, because common sense and reason are the results of the comparison of a number of sensations each equally well considered. There are certain men who, on account of their moral and physical constitution, paint mental pictures out of everything: however exalted be their reason, their will, their courage, and whatever good qualities they may possess, nature has not fitted them to command armies, nor to direct great operations of war.

N
APOLEON
B
ONAPARTE
, 1769-1821

The ideas that follow are based on their experience and hard-won victories. Think of these ideas as exercises, ways to toughen your mind, each a kind of counterbalance to emotion's overpowering pull.

Expose yourself to conflict.
George S. Patton came from one of America's most distinguished military families--his ancestors included generals and colonels who had fought and died in the American Revolution and the Civil War. Raised on stories of their heroism, he followed in their footsteps and chose a career in the military. But Patton was also a sensitive young man, and he had one deep fear: that in battle he would turn coward and disgrace the family name.

Patton had his first real taste of battle in 1918, at the age of thirty-two, during the Allied offensive on the Argonne during World War I. He commanded a tank division. At one point during the battle, Patton managed to lead some American infantrymen to a position on a hilltop overlooking a key strategic town, but German fire forced them to take cover. Soon it became clear that they were trapped: if they retreated, they would come under fire from positions on the sides of the hill; if they advanced, they would run right into a battery of German machine guns. If they were all to die, as it seemed to Patton, better to die advancing. At the moment he was to lead the troops in the charge, however, Patton was stricken by intense fear. His body trembled, and his legs turned to jelly. In a confirmation of his deepest fears, he had lost his nerve.

At that instant, looking into the clouds beyond the German batteries, Patton had a vision: he saw his illustrious military ancestors, all in their uniforms, staring sternly down at him. They seemed to be inviting him to join their company--the company of dead war heroes. Paradoxically, the sight of these men had a calming effect on the young Patton: calling for volunteers to follow him, he yelled, "It is time for another Patton to die!" The strength had returned to his legs; he stood up and charged toward the German guns. Seconds later he fell, hit in the thigh. But he survived the battle.

From that moment on, even after he became a general, Patton made a point of visiting the front lines, exposing himself needlessly to danger. He tested himself again and again. His vision of his ancestors remained a constant stimulus--a challenge to his honor. Each time it became easier to face down his fears. It seemed to his fellow generals, and to his own men, that no one had more presence of mind than Patton. They did not know how much of his strength was an effort of will.

The story of Patton teaches us two things. First, it is better to confront your fears, let them come to the surface, than to ignore them or tamp them down. Fear is the most destructive emotion for presence of mind, but it thrives on the unknown, which lets our imaginations run wild. By deliberately putting yourself in situations where you have to face fear, you familiarize yourself with it and your anxiety grows less acute. The sensation of overcoming a deep-rooted fear in turn gives you confidence and presence of mind. The more conflicts and difficult situations you put yourself through, the more battle-tested your mind will be.

There was a fox who had never seen a lion. But one day he happened to meet one of these beasts face to face. On this first occasion he was so terrified that he felt he would die of fear. He encountered him again, and this time he was also frightened, but not so much as the first time. But on the third occasion when he saw him, he actually plucked up the courage to approach him and began to chat. This fable shows that familiarity soothes our fears.

F
ABLES
, A
ESOP
, S
IXTH
C
ENTURY B.C.