I am 21 years old.
I am a pin-up model.
I work with a photographer
and he said that's Universal
or UI, like the one called
is looking for someone to pose in a film.
So I called and made an appointment.
I went and talked to Mr. Hitchcock
and basically has to take off.
It's dressed again and then
interviewed by, uh, Janet Leigh
and I have to strip it for him too.
Well, only in me pants, but anyway ..
My body is very -like. So I was hired.
I have to report for makeup
I don't know, one or two days later
and there the red light is on
and "Not entered" and all of this.
And I thought, "Oh, God. You know, these are expecting for strippers."
I'm not enough really naked.
I have, uh, what we call patch crotch.
During shooting with shower
leave and everything
it will release.
I told Hitchcock, I say
"Why don't we take this item?"
And he said, "No. No."
All the time She's wearing a suit
black tie, white shirt.
I am employed for two or three days
and finally work for seven.
This is amazing it took a long time
to do it p... one particular scene
because it's about one third of what
Janet Leigh has to work for the film.
There are 78 pieces of film
in about 45 seconds.
Spend seven days in a small set
shoot, you know, like a short scene
quite a lot is unheard of.
Generally today, You're lucky
if you get it One day to kill someone.
Oh, that's definitely an obsession.
You shoot it seven day trip
it's absolute an obsession.
Think of Hitchcock to film this murder
separate from the others this film
which means that way
the murder now will become
accepted part of entertainment.
There is violence in American films
but there's nothing like "Psycho."
Nothing intimate, nothing is designed
no it kind of without mercy.
I think he knows what is in his hand.
And he might feel like
the entire movie depends on that moment
it's this difficult moment.
You should have seen blood.
All in all, the whole place...
Well, is too terrible to describe. Terrible.
That, I think is the first modern...
... expression of...
... female body under attack.
And in some cases
that's the most pure expression.
Because it destroys.
Women have the highest bills in the 30s and 20s.
And it's slowly evaporating in the forties.
And when we arrived until the end of the 50s
the woman, you know, secondary in the film.
And Hitch, sort of, that's what the film did
by the way, say that
he killed Woman.
And that's really the first A movie to deal with with this type
horror, rubbish, tabloid things.
No one wants to make it
and they leave, "Are you crazy? " You just did it "North by Northwest"
"This extraordinary blow
" Now you want to do it It's like
"black and white, what is this ?"
I just created a film
"North By Northwest."
"North by Northwest" like
highest achievement in... at each level.
It's great entertainment, it's classy
It has a movie star, and that, You know, that, that
beautiful, is colorful.
So, a... how are you follow that
with a joke?
I once made a film, eh
not tongue-in-cheek, called "Psycho."
- Yes. - That is...
That, that's a big joke, do you know?
And I'm horrified to find it
some people take it seriously.
It's meant causes people
shouting and shouting And so on
uh, but nothing more than that yells and shouts
on the switchback train.
For those of us who work in horror genres, they rarely wear tuxedos.
This is not the film wears a tuxedo too.
This is a very good movie lots of jeans and T-shirts.
But it's told by a man who wears a tuxedo.
He wants to stray outside his comfort zone.
One of the things he's ready
"You don't know me at all."
And that's what "Psycho" is actually about.
What attracted you for this one?
I think the murder was in the bathtub.
Come suddenly
you know, is about all.
Hitchcock is very, very aware of the competition.
He realized that Clouzot had done a kind of film
that he feels that he should be and can be made.
And of course, when criticism starts
call Clouzot "The Hitchcock France .."
Well, you attack the territory
and him, believe me, he noticed.
"Psycho" really at that time
where the gloves are released.
It feels like revenge Hitch
in Hollywood to some extent.
In many levels, this is, um, the masterpiece.
I... continue to feel like, the movie is an act of aggression
against his fans, his critics, actors.
- Yes - That, just feeling angry.
Like, he got hurt and he has back pain.
Sudden violence from the bathing scene
in "Psycho" means to him
for reasons dated back you know, 20 years
to origins World War II.
Think Hitchcock is English
and the United States is not sufficiently prepared
for danger and the horrors of World War II.
There are a few moments in the films that talk about it.
You can hear bombs falling on the streets and houses. Don't take me out.
Wait a minute, this is a big story and you are part of it.
It's too late to do anything here now
except standing in the dark and let them come.
What's the problem with us?
We don't just let the Nazis do our oars for us but our thoughts!
Ye Gods and little fish!
One of them is "Doubtful Shadow"
only about one year and half
after Pearl Harbor
set in Santa Rosa in California.
You can see how in that movie
he is rather punishing
this city because it's naive.
You live in a dream.
You are a sleeper, blind.
How do you know what the world is like?
Do you know the world is cached?
Do you know if you are torn front off home
Will you find a pig?
He basically said
"America, You are too naive. " You think you are safe in your bathroom, at home
"with, you know, your family and the closest loved ones?
No, not you. Sorry."
Hitchcock has many obsessions
but one of them is that he was talked about with "The Birds"
is randomness life.
There is no explanation for birds that attack.
For him it's life.
You are there, everything is fine and then
someone has cancer and they die two weeks later.
Or your life is good and then You got hit by a bus.
Hitchcock is someone who, for several years now
appeared on people's TV, on Sunday night.
Victims fall or fall with terrible money.
I think the back broke immediately it touched the floor.
That's difficult to describe
that way,...
He is an icon.
She's like this
like uncle, but a creepy man
who presents sex and violence against Americans fermented with black humor, every Sunday night.
And Americans feel comfortable with him in 1960.
If someone else has made "Psycho"
it's very possible that the reaction is
will not be the same.
"Psycho" comes at a very unique time in American pop culture.
Almost pre-date turmoil and shocks
and upcoming trauma
in the 1960s with racial violence
with politics murder.
I didn't say that Hitchcock anticipated that
and know what he did.
But what he knows is he stuck by his past that is not the time for again for Grace Kelly.
That's not the time for
what he calls "Beautiful technicolor knick-knacks."
When you see in "Psycho"
and you see that is beautiful
elegant, big, rich
technicolor films from the fifties
You know something that changes.
I think it's "Psycho & apos; is the response the movie changes
and to increase the bet
and doesn't want to be forgotten.
The year 1959 is that year of" Some Like it Hot. "
" Suddenly, Last Summer, " and" Anatomy of Murder. "
The three films push the boundary.
So, there is something in the air, culturally
Hollywood has entered.
"Psycho" out in this period
where we posted atomic age
but pre-civil rights.
You know, if you think about it creepy Violence they are science is wrong
but you don't feel like that it will happen to you.
"Psycho" You feel can happen to you.
This is the first movie it shows, huh
You can be vulnerable, naked, alone in the bathroom
and someone wearing clothing
from their dead mother will go
to enter and only stab you
that's why they will do it.
Americans are good obsessed with households.
They want to say to themselves
in their personal person domestic space
at least there they are safe.
The Soviet and anyone
they might not arrive at you
in your bathroom!
A few days after "Psycho"
started shooting in November 1959
the Clutter family in Kansas was killed.
That is Murder "In Cold Blood".
You're not staying next door
to Norman Rockwell family again.
You live in the next house to the Manson family.
This is new, modern American family
which is v... very inspired
Tobe Hooper "The Texas Chainsaw Massacre."
The first Playboy club opens in Chicago.
The most famous star sitcom
1950s
Lucille Ball and Ricky Ricardo are divorced.
Birth control pills are approved by the FDA.
You can see in the bathroom
because of this tension buildup of all of these things
all of this American fears
inside, from the quiet 50s.
This... everything will explode
and it comes out in this scene.
While I am at the critic list in New York for review.
Press all invited to the cinema
that day opens at 10:00 or 10:30 a.m.
with the first show.
When you enter, Hitchcock's voice is
blaring on the loudspeaker that says
"Nothing is permitted after the image starts
and please don't reveal finally."
Before "Psycho," You know, movies for
as a form of entertainment is relatively disposable.
Something extraordinary, compared to today
incredible arrivals and went in the cinema.
And Hitchcock is brilliant said we don't want
whoever comes after the beginning of this film.
That changes the way film is exhibited.
The reason is because of the leading woman, Janet Leigh killed one third from the road through
I don't want people to whisper to one another
"When did Janet Leigh come?"
He wants to build anticipation.
Bathroom.
Something terrible happened in the bathroom.
We know this from the trailer.
We don't know it's Janet Leigh
therefore Vera Miles in the trailer
and not Janet Leigh.
Minutes curtains open
and start stabbing
there is, there is a continuous scream from the audience.
Like that, contra... you, uh, you can't hear
whatever from the soundtrack
through the whole bathing scene.
So, you have a scream from Janet Leigh
screams from all women
surround you in the theater
and screaming high strings from Herrmann.
That's definitely total chaos.
That's actually the first time in film history where it's not safe in theaters.
And when I walked out to Times Square
during the day...
... I feel I have been raped.
In 1895, when Lumiere Brothers
the first really shows the movie for the audience
one of the fragments they showed it
from the attractive train becomes a station.
And that, legend has it
they thought the train would hit them
and they shouted and it was like
cause... a step on people
trying to evacuate this
this room that it is filtered.
They don't, they don't understand the concept.
You know, "Psycho" came
and have a similar type of impact.
This is the only movie in my childhood that my mother won't let me go and see.
That's good silly because I see there is nothing but horror movies
every weekend, two of them, actually.
But "Psiko?" No, I can't leave.
When I was a child I will hear about it
I think the name is a cycle.
Like that about some people killers on motorbikes.
But, um, I really, get this Super 8 version
and only, like, keep running the movie ends and again.
When the audience saw this
very pleasant character.
Someone who is quite familiar with in terms of, I need more money
I'm getting older, the man I love will not marry me.
They, they are really addicted.
Oh, Sam, Let's get married.
Yes, and live with me in the warehouse
behind the hardware store at Fairvale.
We will have a lot of laughter.
"Of course he went to survive in the film!
That's Janet Leigh."
Instead, he is taking a shower.
From nowhere, he's killed
by... an old woman?
Who can't even see?
What is this going on here?
He has ruined the agreement of filmmakers and viewers and the audience can't wait to see more.
He used to be a respected director and you know, he's a bona fide movie star
and I think you like that into sensation
from that maybe shockwave
clear happens.
And I think at that time gave a signal
new American cinema.
Maybe a new world cinema, in a certain way.
Now I don't know that has ever been done.
- Right. - Uh, you know, uh...
Or maybe there are some Czechoslovakia films that aren't clear who did it and there was a man like...
- I did it first! - Yes
I can think of it has culturally made us
thinking about that structure for example
um, first season "Game of Thrones"
where we are the most interesting
character Ned Stark
just kind of cruel killed in front of us.
In terms of culture, we really have to do that remembered the power
from that narrative trope.
The reality is, he used the whole first half of the film
as a trick to get you to this house.
And the only way you will get to this house is if you believe that he is someone who
stole $ 40,000.
And he got it at the wrong exit of the freeway and on this small little road where there are no people passing by.
There are many things he said here about
our society changed at that time.
We try to get it as fast as we can from Los Angeles to Chicago or New York.
And enter into these small cities
no is needed anymore.
And Norman doesn't even seem to mind.
She's ready to change sheets
every day with no one there.
One by one, You drop formalities.
I shouldn't bother changing the sheets
but old habits are difficult to remove.
When he goes with $ 40,000
he is on the road and he is in the west.
There is something basic about American dating back
throughout the trip towards Manifest Destiny.
"Go west! Find your fate, find your freedom."
Marion tries to do that.
And that's where he met his destiny.
It is very interesting to compare the "Psycho" novel with the film "Psycho."
Shower scenes are much different.
This is very short in the book.
So on page 28
um, here it is bathing scene.
"A roar deafening.
" The room starts to evaporate.
"That's why he didn't do it listen to the open door
" or watch his voice footsteps.
"And at first at that time the shower curtain parted
" the steam covered the face.
"Then he did it see there
" just face, peek through the curtain
"hanging in the air like a mask.
" Half a scarf hiding hair
"and teary eyes looking inhumane.
" But it's not a mask. It is impossible.
"The skin was dead white powder
" and two spots of busy rouge centered on the cheekbones.
"It's not a mask, it's a crazy woman's face.
" Mary starts screaming and then the curtain opens further
"And a hand appears, holds a meat knife.
" That's a knife, it's a for a moment then cuts the scream...
... and his head. "
The fact that Hitchcock brought Saul Bass to office
in the bathroom as his place itself, sort of an independent thing
uh, tell me that he knows
that, uh, he must do it something special
with a bathing scene.
"Outback, Mary is taking a shower.
"We saw the bathroom the door was pushed slowly open.
" The sound of the bathroom drowned out any sound.
"The door is slowly and closed carefully. " And we see the shadow of a woman
"fall curtain bathroom.
" Mary's back turned into the curtain.
"White brightness the bathroom is almost blinding.
" Suddenly we see the hand reaches for
"hold the shower curtain, get rid of it. " Cut to Mary, very close.
"When he turned in response to that feeling
" And the sound of the bathroom curtain was removed.
"A pure horror view erupted on his face.
" A low and terrible moan
"Start to rise out of his throat.
" A hand came in the shot.
"The hand holds a very large bread knife. " The knife stone destroys the screen
"Almost total silver void.
" Cutting it.
"An impression from the cutting of the knife
"As if tearing on the screen, tearing the film.
" On top of it, in short, give a shout.
"And then shut up. " And then the terrible pounded when Mary's body fell into the bathtub.
"The opposite angle, white is empty
" blur water bath
"His hands are interesting The shower curtain is back.
" We caught a flicker from a glimpse of the killer.
"A woman, her face wrinkles with madness
" her head is wild with hair
"As if she wore a -fever wig. " And then we saw only a curtain
"Close the bathtub
" and listen in a hurry water bath.
"Above the shower-bar we see the bathroom door opens again " and after a while we hear t he is heard slamming the front door.
"Cut to the corpse. " Lie down half in, half of the bathtub.
"His head was rolled over, touched the floor. " His hair was wet, one eye was wide open as if erupting.
"One arm lay limp and wet along the tile floor.
" Down side of the bathtub
"Running thick and dark along porcelain
" We saw lots of small threads of blood.
"The camera moves away from the body
" Travel slowly across the bathroom past the toilet, out into the bedroom. "
I thought it was a bathroom an elevated movie scene. = I think it's one of them spectacular work.
The film moves is inevitable to the scene.
You don't know that as, as a viewer.
Sam, this is the last time.
I pay too.
They also paid who met in the hotel room.
There are many motels In this area.
You should, I mean, just to be safe.
M... mother. My, my, my mother, eh, what do you say?
It's not him q... enough of him today.
Great Hitchcock in all settings.
When he packs to go meet his girlfriend You see a shower in the background.
And it's very specific the bathroom has ended his shoulder.
You know, when came to Norman, when he was
t... t, he talks about the bathroom and he stutters
and he can't really say "Toilet"
you know, or, or "Bathroom."
And, uh...
... there ..
- Bathroom. - Yes
That's what, what? is great about Hitchcock.
I mean, he is always, really like
tone to them c... moment character.
That desperate urge at first.
This is crazy good.
The idea is to be clean it's his shoulder.
He can't see because
from density from water
the is really pretty
because he sank in his worries and fears.
Cutting from the wiper
indicates cutting, the knife.
That's kind of, it's very hard and wet
and slippery, sharp, piercing movements.
And that is a long build-up but we don't know that the rain will happen
get off later he will go
including his own blood.
I definitely got the sensation
that the shower scene is something that is Hitchcock
maybe has worked towards his whole life.
Does he clean the house?
He is washing the bathroom wall.
Hmm! It must be scattered a lot.
Well, why not? That's what we all think about.
He killed him there, he has to clean
the stain before he left.
W... you really can't talk about bathing scenes
without talking about it the rest of the film.
Without a living room scene, is clear
the shower scene doesn't really function properly
because the living room scene is kind of very sad
beautiful connection
it came before this savagery.
Is your time so empty?
No. Uh...
Well, I... I run the office.
And, uh, take care of the cabin and the base and, and do a little
uh, assignment for my mother
which he let me might be able to do.
Do you go out with friends?
Well, a... the best boy friend is his mother.
There is a very large opening to the bathroom.
Isn't it better if you place it...
... some places...
Do you mean institution? A mental hospital?
Look how much he is still alive.
Even though he was previously nervous and moving suddenly he becomes very silent.
Maybe it's time he decided to kill him.
- Yes - Yes
Yes, he is super confident now.
Yes, he almost moved his head.
- Only his eyes - Wow.
Oh, he is very angry.
- And he's just scared. - Yes
Oh, y... you don't, uh
You will not return to your room already?
"Maybe I'll come back to my room now, Norman.
" It's fun chatting.
Very sorry about your loneliness. "
Whoa!
This is the first moment that you were with him and not him.
Yes, he really walked away from the camera.
- Yes right. - And then we are with him.
- My work here is finished. - Yes
I am no longer the protagonist of this story.
There is a private one Dinner here.
And, uh...
Oh, by the way, this picture...
... amazing meaning...
... because...
Uh, let's join to cabin number one.
Painting that was discarded by Mr. Bates to be Tom peeping, actually
16th or early 17th century painting.
"Susanna and the Elders" is actually a story of morality
about a virtuous woman who bathed in her garden
and spied on by two older men.
And the theme is developing maybe as a result counter-reform motives.
That's good or that's just an excuse
to paint female nudity.
Now, interesting thing about that, it's about adultery.
And that's very interesting because of that
Mary, who's in the bathroom
good cleanse itself
committing adultery with married men.
In art history, is around three
or four different phases about how the artist
describes Susanna and Elders.
Lucas van Leyden shows the second Elder in the famous
whereas Susanna is small
is taking a shower long distance.
But at that time You arrived at Tintoretto
he's full frontal.
Rubens starts to retrieve and investigate
the psychological intensity at that time.
Rembrandt uses strength light and dark
highlights to improve drama.
interesting thing about the painting
is you already full Susanna's frontal nudity
but the two elders not only looked at him they actually grope and break it.
It's almost rape scene
it's happening before our eyes.
This is... an extraordinary painting which he took.
That's nothing old baroque painting.
This is voyeurism.
He deleted voyeuristic paintings
to be a voyeur looking for in the bathroom.
He can choose from 50 different examples
but he chose this one because has the most number
the information he can use for the film.
I like it a hole in the wall
the size of his face
who told you that he has done this more than once
and he succeeded comfortable for himself.
The idea that he looks the same as you it ties you with it.
And when you remove it the walls
and you are now watching him
and you watch, and You are watching together
then you in a new place
where things can happen is more frightening.
"Psycho" is described from another work
the oeuvre by their gaze.
Bird Birds are looking at us
each individual bird
birds die, are looking at us.
Mom is looking at us from a socket without eyes.
Marion dies with eyes open.
That look includes and accuses us at the same time.
That is a mirror image, You know, it works in two directions.
We are looking for eye death
and eyes of death are looking at us.
And it's inclusive and terrible.
Laugh and tears ..
... and cruel eyes are studying you.
My mother, there?
God is studying you, because there are a number of
You know, God point-of-view shot at "Psycho"
the same as there is in "The Birds."
Hitchcock & s; God is cruel and arbitrary
a bit like that _ bird of prey or raptor
which, uh, looks down is rather cold and not interested on human subjects.
In the shower sequence, violence is directed
and the knife comes towards us
so we are punished for being voyeurs.
There are consequences for watching
and supervised.
In the character from James Stewart
if we identify with it in "Rear Window"
has a very literal fall at the end
where he breaks the other leg
means six more, eight months of pain and itching
and can't to disrupt Grace Kelly.
All of that is related to Hitchcock.
I bet you nine people out of ten...
... if they see it something is opposite
like a woman who undresses and goes to sleep
or even sometimes a man is circling
the room doesn't do anything...
... nine out of ten people will remain and be seen.
They will not turn and say
"There is no from my business"
and pull down the curtains themselves.
They won't do it.
Initially in the film
You fly to the window with the curtain closed
so you start as a voyeur.
And if you think about it, if the movie opens
from the point of view of a fly
it changes entire context
about what means from this film.
I didn't even go to hit the fly.
I hope they watch. They will see.
They will see and they will see it know and they will say
"Why, he doesn't want to even harm the flies."
I think voyeurism actually has rewards in the bathroom.
This is the way to set the Hitchcock bomb under the table
which is something he likes to do to create dramatic irony.
Hello?
I think at this point, we start asking
what happened on his head and what will happen
because of this display on his face.
This is very interesting, as an actor, what he plays.
He plays, "Oh, God, don't let my mother kill this girl."
Norman Bates is presented in all this small
You know, a packed moment throughout the film
and in the same way as that the murder was presented
encapsulated moment image
and composition is cut together.
So, I think it's the th... the film
it's about fragmentation.
That is fragmentation.
Norman goes to get home.
This is very important that the audience
see him go
because he reacted to the third character
what we think is at home
mother, but that was really in his mind.
He goes to the stairs and he looks up and he looks like
she is sad because she realizes mother is not in the house upstairs.
Then he goes and flops into the kitchen
like sad little school boy.
Then he sat there like, "Oh mice, I can't eat dinner with
the woman I want for dinner together."
I imagine he must have done it a lot when mother was still alive.
That he must have yelled at him and he will just leave in the kitchen when he can't get what he wants
when he scolded him for anything he didn't
live up to the standard.
There is a lot that can be discussed Ms. Hitchcock.
Are you sure he didn't come here to see you to catch Alex who is rich Sebastian for a husband?
Now, shaved beforehand your father comes home.
Gentlemen don't really try to kill my son, right?
When you talk about what is sacred in America people talk about mom and apple pie.
Mother is good, we love mom.
We are mothers. We're okay.
On the other hand, there is something else happening
in the 1950s Americans culture and society
where is mom
also suspected.
There are serious social panic in America
about juvenile delinquency.
One thing is this social panic produces
is this fear that mother will leave
to take refuge and spoil children
maybe America alone, to death.
All sitcoms
"Father knows the best"
"Ozzie and Harriett"
where mom never does anything.
Everything he did be careful home and children.
Practical lunch and ready David must dress.
Dress up? Do you mean to dress?
Alright. You want to look beautiful when Nancy arrived here.
Director who exposes
the horrors of Americans family in the 50s
without making horror the film is Douglas Sirk.
You know, Kay, I like Ron.
You love him so much Are you willing to destroy all of our lives?
You can't really think that.
What else can I think about?
In Sirk, that's all family development.
Not until "Psycho," though, where is mom
literally is a monster
when you see it in the end.
I think my mother scared me
when I was three months old.
You see, He said, "Boo!"
I don't know how many times in "Psycho"
do people talk about mom.
Oh, we can see with each other.
We can even have dinner.
But politely.
In my house, with my mother's house picture on the fireplace shelf
and my sister helped me grilled big steak for three people.
And after steak, do we send sisters
to the cinema, turn mama picture to the wall?
Sam!
Patricia Hitchcock
talking about, he offered him a sedative.
Do you have some aspirin?
I have something, is not aspirin.
My mother's doctor gave them to me my wedding day.
Teddy is very angry when he finds out I have taken sedatives.
A... what are the calls?
Teddy calls me. My mother called to see if Teddy called.
Even in the office, influence
negative influences mothers
and this is in women, not in men.
So, the fact is that Ms. Norman Bates
we realized finally that was Norman Bates himself
maybe, in the unconscious level, the audience says
"A-ha! I know that!
" Mother will kill us!
Mother will be like that all of us die! "
Okay, once again to the bridge.
Return to primal when.
Marion did it accounting here
find out how much he spent in the car.
He was making decision to
return the money. A little good useful exposition.
I always write down my math.
This is fascinating, you know.
This is still an old movie, Let's face it
He threw the paper in the toilet toilet
and then, to close it, He watered it.
Right from the start You know you are in a new territory.
In 1960, there was no the previous toilet appears.
The toilet flushing is a clear indication
upcoming scenes will occur to solve one or two taboos.
The details are important, you know, in the tension building.
You know that all the details will increase for something is far more monumental from the simplicity of from these photos.
Hitchcock is a Victoria.
Victoria thinks it's bright
white ceramic bathroom sanitary ware.
That's the term they use.
The bathroom in his house is a bright white tile.
He thinks that is attacking it's cool and subversive things to do.
He did it in silent films, He did it on "Spellbound."
But showing that brightness, it's a way to say
Look at how I contaminate chastity bathroom.
And I did it almost without blood.
By chance, this scene is very influential
in a scene in "Conversation"
which I edited was back in 1973.
A killer has been done and Gene Hackman goes inside
bathroom hotel room
but the room is really clean.
And he pulled the curtain apart
same as in "Psycho" mother
pulling the curtain apart but it's empty.
He goes to the tub drain and runs his fingers around the drain to be seen if there is a sign
signs of blood, and nothing.
He goes to the toilet to shake the handle
and toilet suddenly backs up.
So that's kind of from i... inverse version
from the "Psycho" scene.
Toilet and flushing toilet
bathroom curtains, sewers, all of these things
definitely printed to us with "Psycho."
Now, one of them is the most beautiful famous leading woman in 1960
just stripped before us and stepped into the bathroom.
It's like, "Damn, where do we go now?"
Man, that's definitely crazy madness for 1960.
I don't even understand.
Hitchcock knows that
America curious man
about Janet Leigh.
And that's the idea has him in the bathroom
in a position that seems very suggestive, is a big problem.
Seeing his full body behind the curtain
it's brilliant because it's transparent.
Not transparent it's not opaque, but translucent
enough to see it and aroused us
but not enough to really become a graphic yet.
The whole theory is You must find
sex in that woman
and don't have it ..
... stuck in his body like a label, you know.
And, uh, there's nothing else to look for nothing was found.
Do we know anyone take a shower before that happens...
Uh, I mean, I don't act like that.
I didn't change bathing... like that.
I run it and then enter it when I know it's safe.
And see that almost sexual expression on his face.
He is bombarded, and it cleanses.
It's warm and he's happy and he's like, decided.
Natural sounds like putting you in perspective
You know, we all become Janet Leigh, but not attractive.
Through other films such as "Rear Window" and "Birds"
he knows that lack of music can be as effective as music.
I think there is almost no moment
when we see Marion with a sincere smile.
There are almost no moments, where he is allowed to feel it's good about what life is like.
She's happy for the first time.
We will enter a scene which is on one side
is, um, enough to free for characters
but at the same time, is very clear what we watched was the release of Hitchcock
own property desire pressed
finally written large on the screen.
Hitchcock looks at the world
as a very imperfect moral engine.
And he always has this...
... the Bible, almost, calamity and punishment.
You know, it happened to those who were tangled
with sin in the normal way.
Even most un-Hitchcockian films
which is "Mr. and Mrs. Smith"
what I like, punishes banality.
He made a moral decision to take back the money, and enter it You know, and suffer anything punishment will come towards him.
I stepped into private trapping back there
and... I want to go back and try to withdraw from it...
... before it's too late for me too.
This is very important.
Very important narrative because
it doesn't come, uh, in the middle of theft or in the middle of robbery
or when he fled with money on the road.
And it turns out, bang, that means nothing little difference because the universe doesn't care.
I think, uh, that, um
the true sign Catholic
and... and his feelings apocalypse
about that sin can't be cleaned
literally, with water.
You know, it can't be cleaned
except with blood and violence and pay the price.
He was sentenced to for the worst crime
that arouses sexual arousal Norman Bates.
You know, you get this filter again and again.
I mean, think of "Foreigners on the train"
where is Robert Walker, you know, strangling this poor girl.
Again, what happened he strangled him?
Because she's a loose woman
who's in Farley Granger's Way...
I... I mean, that's a shadow of "Psycho."
That's the point of view bathroom
which places us, audience
as if we were in the bathroom with him.
It makes us feel fair is just as vulnerable as him.
It sprayed on us and it created a sonic curtain.
He can't hear it arrival.
Wow, I'm sorry I didn't hear you in all this rain.
And that's why the shot is bad news.
You know, shot changes in the level of their symmetry
during the course of the sequence.
That was the initial order
and then strangely, it will be echoed by the eyes, and the sewer
and Norman Bates & apos; peek through his office
and those things start to rhyming after a while in a great way.
How do you show a camera on the shower head
without lenses sprayed?
Move the camera quite backwards
plug several holes so that the spray spurts out.
Very simple and elegant solution.
There is nothing unusual about going back and forth here.
It's rather relaxed four and a half seconds
per piece on average.
So it's quiet before the storm, say.
And now here's what I call weird pieces what I call wet haircut
where he washed himself
with his head tilted back
then suddenly cuts
same kind of angle
really leaps, except now Her hair is really wet.
This will give a lie to someone who says
this scene shot right
as a storyboard is done
because you never will storyboard
such a moment.
You think you will do it Take care of him
through the whole process in real time but it was cut jumped forward.
Feel very courageous and confident.
Now, we... we cut into the shower
but that is the side corner in the shower
not like this subjective point of view.
When we searched for to him, he faced left to right far from the bathroom.
And when we cut it back to it
we came to the other side of the stageline.
What's behind it now is a shower curtain
not the wall.
And now there are other pieces
again that's the same awkward jump pieces.
Objectively, there will be there is no reason to do that.
But it's annoying because
there is a large blank space, which itself is disturbing.
What will be filled empty space?
The audience starts glancing at to the negative space
and feel like, "Why did I see it here?"
The door opens, you see the shadow
and then Norman number.
And that terror is increasing
where do you say for yourself
"My God. My God."
And that's the difference between between tension and surprise.
The idea of a threat in a shadow figure.
I thought it was Hitchcock's fear.
Who threatens numbers
in A... Alfred Hitchcock lives alone?
When he gets to "Psycho," the person is released.
Here you see, eh, Margo Epper
reconnaissance woman, is coming in the direction.
How do you not disclose it who is it?
I have taken rap for that order of 20 years now
but it's not me behind the curtain.
I was in New York that day practicing Broadway shows.
Every time they keep shooting it
you continue to see the face of a stunt woman.
One of the makeup men decide
what if we blacken his face?
So they... they tried several times
and they are darker and darker and darker
until they... they achieve that effect.
I talked to Janet Leigh about what she was thinking he looks at him, and, and he clearly
see Norman coming to him
and that's what happened he played.
So the reality is for him
I will die this way by this person
who tried to be friends with me
and I tried to be polite to.
You are very good.
This is all for you. I'm not hungry, please.
It really lends extra air to horror
and pathos for now.
And the wallpaper is in the background
"The Shining," so many horror films trying to have likes
The perfect Hitchcock, Bates Motel wallpaper.
This flower pattern is juxtaposed with this
black silhouette of knife and mother's hair
it's really, is very scary.
The shape always torments me a little.
It's almost like a strange mushroom shaped head.
I don't know, it's a bit to me, for some reason.
I, I always hope that this shot looks a little scary.
When my first grandfather saw the first rough piece of "Psycho"
um, he didn't like it at all He will only do it reduce it to one hour
and make it a part of of TV shows.
Bernard Herrmann is convinced he is to create the most like
fearful chord music is famous in... in history of horror cinema.
It's embedded in pop culture, to the place...
That, that, is transcendent.
My seven-year-old daughter knows that
but he doesn't know from what he came from.
But you know, he made that joke.
Like, I don't know where he got it.
- That's amazing. - He doesn't know it's from "Psycho."
It's like evolution we just got born to know
bathing scene from "Psycho."
I want a tattoo and I think, it must be one sign of that
by Bernard Herrmann
the most amazing cues ever made in cinematic history.
This is very little must be done in harmony.
It's just mere terror.
The way the music is used is film to scare people changed after "Psycho."
If you want to make it something is scary
You are entered in the string, and you are like...
If you are slow it goes down you get...
What I really like about Herrmann
the way he realized within the boundary
there are actually more
strong statements must be made.
He did "The Day Earth Still Standing"
and he wrote it for seven Theremins and only copper horns.
Herrmann writes, "Living dolls"
which I think is one of the best score
they have "Twilight Zone."
It's like bass clarinet
or maybe a contra bassoon
a glockenspiel and kecapi.
He must have been an experiment.
He taught me what you can do
anything anywhere, if it works.
What I think too is really genius the bathing scene is that the way Herrmann sees it.
Uh, the spot decides when you start the signal
when you end the signal.
This starts with... The toilet is flushed.
He steps into the bathroom
there is no music at all.
This composer does not prepare us for the onslaught it's about happening.
When Janet Leigh goes to the bathroom and he pulled curtain closed
You really can listen to the sound
from the ring in the bar and it goes
You see the villain coming too
there is no music, no music at all.
The curtain will be knocked out, we get the first sting...
This... this is a rush Janet Leigh's heartbeat.
From the moment we, as spectators, are really aware of
"Okay, this girl is having a brutally slaughtered here"
and we see this, and the music goes...
He fell to the floor heart rate slows down because he is dying.
Then, in his last breath
the music basically left it
and all we have is the sound of the curtain falling
and his head hits to the ground.
How genius is that?
That's Herrmann. That's not Hitch.
That's Bernie.
We use the original score
um, belongs to Bernard Herrmann original score
for our temp music, of course.
When we are editing a film
and then Danny came and re-recorded and that is very beautiful.
It's a perfect score.
When I was given the job, I mean
it's really a holy book for me.
There is one tap in the meeting with several manufacturers
like, maybe because the color is colored, we have to do it
uh, brass and woodwinds and percussion and do it
with a full orchestra, I like
"No no no no, no, no, no, no, no.
I beg you. I beg you. Don't make me do that."
I have a vision of being very angry
Bernard Herrmann
The ghost gets inside me space and I'll wake up
in the middle of the night and he will go there
"You little bastard, what have you done?"
Blades raised
and now, murder scene begins
and the speed from cutting
that happened dramatically shrank.
And that's it, is beautiful
laxatives, ... extraordinarily savage...
... intimate and fair wrong on many levels.
That... it looks awful. That's... that...
Wow. Wow. Friend, oh, man.
And he has the way to get out and reach you
by throat and say, "Look! Look!
You will see this."
That's perfect, stainless steel trap.
You can't run away from it, it is, uh, causing damage
but at the same time, you know
You are in the hands of a master.
There is nothing to do but send.
The bathing scene "Psycho" is cutting very similar... action scenes.
George Tomasini is a teacher.
What did he do with the bathing scene changed
cinema language.
Uh, the editor suddenly became far more important puzzle pieces.
You have to think about cutting Because the wound will take you four minutes to make it
and splice and check.
And now, you can make it cut every 12 seconds or something.
Planning, consideration, thoughts that go away
in designing some of these films is surprising.
The camera image was 14 years old someone got the idea
You can make a cut.
Because of that violence what happened
You are viewing images, visual fields
it's very detailed and full of motion and then, instantaneously
it was deleted and replaced with another image.
In a sense, the audience must be like that
crashing into the windshield from this experience.
Hitchcock and Tomasini know exactly
where the audience is looking for.
They finally work disorientation
drawing you into Marion's understanding confusion and terror.
Every piece Tomasini is you...
When you are caught for what you see
in the new shot, he has already been cut into another shot.
This is a kaleidoscope from these falling pictures
to your skull, but it's very planned, and it feels like that.
These orders and chaos come crashing into each other.
- This is a magic action. Truly. - Yes
Because people come out feeling cinema
as they have seen, like being surprised, you know, beyond belief
Because there is nothing like that in the cinema before that.
But they haven't actually seen things
what they thought they saw. That's an amazing thing.
Use of sound effect, um, that... is
I think, I think is a big contributor
for violence from the scene.
The sound of stab especially.
How do you come with voice
What happens when a butcher knives attacks meat?
The soundman appears with an idea
what about the knife stabbing the melon?
So, know Hitchcock, You have to bring
lots of melons and set them they are on a large table.
There will be Crenshaw melons, and you know
all kinds of melons that you can imagine
very, very different sizes.
So I think they have
two dozen and several reserves.
So, there is the supporting human piercing melons, melons, melons, melons.
Next melon, melon, melon.
And in the end Hitchcock knows that one
the most audible like, muscle and
sounds like he thought it should be heard.
So, at that time via demonstration
all of these are different melons
everything he said was...
"... Casaba."
Only that they need to know.
I think the whole key to the sound from melon Casaba
is that inner in is very small in part
and there is a very thick fruit layer
you have for stabbing.
- This is very dense. - thick?
Not empty, like many from other melons
sounds a is a little hollow.
And I'm sure, with eyes closed Hitchcock might have heard that.
In my ear, Casaba melon sounds more like dry
bone pricking, as opposed to being wet, sticky sticky.
Starchiness and its thickness
maybe giving you, more than that innards
crispness or...
- Viscera. - Viscera.
Hitchcock also has it bring sirloin
very big sirloin thing.
I don't eat meat, and so I'm almost nauseous
told you this, but, uh, in any case
Hitchcock thinks it will happen very good idea.
And they did it, actually, stabbing
big, big, big slice of steak.
And the sound is interspersed with melons.
And the sound manager took it home and had it
for dinner that night.
The sound of stab in "Psycho"
not Hollywood sound effects
it's natural sound effects
that made it all the more terrible.
You can take a combination like, arrow
literal arrow or hitting ax and you add it to the pipe in the mud bushes and you add it sort of like, uh, like a skin tear
and you can make it sound design puncture
it will feel terrible.
Marion changed.
We have three close-ups getting gets tighter
to that point now we don't see anything
but the mouth is open.
Three quick pieces that made me
happy to be an editor.
I have seen some Saul Bass & apos; board and you will see
cut one and cut three
but the idea of drawing the third together
feels like something , uh... uh,
kind of fun discovery
in feeling your way through things in the cutting room.
Hitchcock did it here He is also in "The Birds"
to show something is surprising.
Cutting axes
boom, boom, boom.
That's psychological cutting.
People always think that's... something Hitchcock
coming, but actually is always traced back to original "Frankenstein"
directed by Pope James in 1931.
That way the same effect because
they showed you something very strange
something you have never seen before.
People want to go to the movies just to see how shocking it is.
There is something called an American cut when you are editing, which is
the same as the jump jump becomes close-up from the wide shot.
And I know whenever I do it in an movie when I work with
Sam Raimi, he always likes, is tortured.
He's like, "Why did you do that stupid cut?"
And I always go, "This, uh, it's a piece of America."
And he always said, "It's more like a... Canadian cut."
Something is right Visceral about deduction
from a wide shot jumps in, close-up.
Now we have lower angle
it's not that subjective angle
This is not what Marion saw but it's maximized for threats.
There are lots of defense shots that make it look like
he tried to fight him
which makes you feel that you are there.
We already jumped the stage line here
others things that are confusing.
In violence and love, is very interesting
it's actually good to cross the stageline
because it gives you that subjective feeling sort of
d... dizzy delirium.
You see the hands of Norman with the knife coming towards the lateral
across and breaks the line.
This is very good because it violates chastity.
The water flows in the opposite direction
knife, so there are all these big corners
it's again, like, German expressionist cinema
The Hitchcock has been affected
in the early 20s when he first started his career.
This overhead shot, it's like The whole shot is out of focus.
And you know, they use it.
I can imagine sitting with executive studio now
and they said, "Oh, you know, You have this one shot
" It's very unfocused, we really don't need to take
it was shot edited. "
But thankfully they left it
because it's like that a great shot.
The knife has been through frame
before we, the audience, can actually lock into
what we see.
Our faces Gravitates to Marion
and then to negative space to see where the blades go?
They force the audience to fill in the blanks.
Right to the left movement brings we
are right to cut and is exactly where his face is
there is a knife.
The knife never works relationship with
but in my mind I saw him stab him.
This is crazy.
Hitchcock will go in 360 degrees.
All of these things You are not supposed to do it in narrating stories, he does to give you
this feeling complete disorientation.
Every time we cut back to the Norman form we are punished again.
Back to Norman, but now we are a little tighter.
Cut to Marion, we are more strict.
Norman, more strict.
And then, at that intersection water again and again
for shots, one shot
which convinced me as a -viewer Marion has been stabbed.
The knife has never been connected with the skin
but what about this being shot here?
I tell you, friends, it is penetration.
Hitchcock got away, uh, shows
my belly button in the film.
All film beach towels, you know, with Annette Funicello they have bikinis, but they have to have them above their navel.
He explained to me that he was, he said
"Special Effects Paramount Department is made
" For me the body is from rubber.
"You dip the knife into it, blood will spray out.
" Oh, that's amazing.
I don't use it at all. "
" You don't use it at all? " " No no
The knife never touches the body. "
Back to Eisenstein and all ideas
editing, uh, cutting.
Montage.
He doesn't want a plastic knife or anything.
He uses the knife.
He has a sign there blood, and he presses it
to my stomach and then pull it out.
And then, in that movie they turn it over indicates it happened.
Hitchcock, I think, is safe to say
spent his entire career aiming at his nose at the sensor.
The last picture "North by Northwest" is, is a train
enter the tunnel, as it is very sexual metaphor that is not subtle
and then we take it a post coitus in "Psycho."
Wow. That is interesting.
You know, Production Administration Code
still important at that time.
And then try to get it approved film by Legion politeness.
If one of them has been a problem
as far as production and distribution "Psycho"
it won't happen the phenomenon.
There are a few negotiations in progress.
He said, "I will re-shoot the beginning.
You... you can come and see me shoot him."
They never showed up.
All he did was notify the whole crew
we will be fair send the scene back.
We won't cut it one frame from it, and he doesn't.
He keeps basically telling them, you're an ordinary person
and you're actually dog horn prudes
because you saw something that wasn't there.
So everything still exists in the way he wants it.
He escaped with that.
You contrast Hitchcock
making a nuisance, a shocking film
that revolves around sex and violence.
and very deep the protagonist is disturbed
with the movie coming out the same year
in a few months, like Michael Powell's "Peeping Tom."
The film, many people see has been destroyed Michael Powell's career.
You know, Val Lewton, who is this people know I'm obsessed
but you know, he is a ruler, You don't see anything, ever.
There are no cats on "Cat People."
Right. Right, right,
There are no cats on "Cat People."
There are shadows.
There are some shadows.
Everyone the films are
the title promises something that you never really saw.
You never, there is no Leopard guy in "Leopard Man."
And the most terrible murder in all from the Val Lewton canon
occurs on the other side closed door side
from a mother's perspective
who hears it _ daughter is slaughtered.
And you only see the blood seeping under the gap in the door.
You n... you've never seen it, you've never seen it at all.
And that in my opinion is like the root of the bathing scene.
- really. - I want to throw one there.
Uh, like, one movie into a mix
which has one particular thing amazing scenery
what I call horror, and it "cannot be changed."
Yes!
And this is the problem about the rape scene.
It's like, that, me... that, is like, 15 minutes?
That's something, and they don't really show everything.
There is no nudity, nothing.
Only one shot remains alive.
The scene of rape in "Irreversible"
and the bathing scene in "Psycho"
is the right inverse.
Shower scene very close...
... and frenzy.
And the scene of rape in "Irreversible"
very far and still.
Mother's shot is out of focus
the focus is on water, not the mother.
You can argue that this is subjective Marion
the point of view that he doesn't see who is clear
because he was very confused.
Very fast cutting here, average
one shot every three quarters of a second , 18 frames.
And the audience in 1960 will experience
um, they will see something
in this way is not used to seeing it.
I'm always surprised that they got away with this.
Just the amount, bare breasts
that they can appear.
That must be done Impressionistic.
So it's finished small film pieces.
Head, feet, hands.
Body parts.
His foot shot is the first blood cut
we have throughout this section.
Blood begins to scatter into water rather than flowing.
You know, you see spots hit like dark rain
then only absorbed by water and it spreads
in a very haunting thing, haunting way.
My mother likes to tell me that "Oh, you know that, uh, blood flowing into the drain? in" Psycho "is chocolate syrup, right? - chocolate syrup. Yes.
So, anyone in this case room will tell us
it's not that actually chocolate syrup?
They have cans Hershey syrup
made easy
and that's what happens they are used for blood. around me and to me.
I accidentally made films in black and white
because I knew that if the color was colored
uh, draining will be too disgusting.
The knife came
and even though it's fair swinging through the frame
my brain tells me he's just been stabbed
right behind.
Then, to the sneaky piece
that Tomasini has been included in the film.
Start here with his hand focus in front
that happened towards the wall.
Your eyes are super confused here
because you are looking for in negative space
a... and fair wall tiles.
His hands start to enter and directly
there is a jump jump.
If you watch at full speed
only looks like, bam.
That finally made him feel like he was slamming into the wall.
He's out is also amazing that fast movement, without looking back.
He doesn't even stand there make sure he's dead. He goes.
This is almost like a time cut, where is already out the door.
And I think some of that is they really tried to hide You know who that is.
And they are tired indicates that the shot is paralyzed
where the head looks like mushrooms.
Hand shot, this looks like a starfish
to the wall.
It's just a hand, the least important thing part of his body
now after he has been hacked to death.
And you see life recede out of his body through his hand.
So, the scene becomes all about his hand, if you watch it.
Hands. And then, hands.
And you see it go away.
Trying to get something. Hands down the wall.
He turns around, where is his hand?
You know, that kind of thing, is a big question.
And if you really watch the opening scene of "Jurassic Park"
it's the same thing, that, you know
it doesn't matter that... that guy
that is eaten by velociraptor
You hardly see the face.
But what matters, and you watch it
he grabs into his hand.
Hands reach.
Hands touching p.
And I think that's part of the way that he can do it bringing the audience into his death not only, watching him, watching him die.
Now he begs for his life, tries to restrain himself.
How the hair goes like a trail behind it it follows it ..
I mean, it's a very haunting picture.
And that's a wall.
You know, You have previous depth
and now he is just flat against nothing.
Nobody did this before.
Fast death in the film.
And even though actors are happy to use them
this is very clear _ directed in such a way.
You know, in "Torn the Curtain," there's this endless scene
try to kill someone.
It's not bleeding but it's graphic.
Even "Frenzy" is pretty graphic
uh, compared to to "Psycho."
But "Psycho" has an effect as a graphic
like "Texas Chainsaw Massacre" later.
I like how slow it is, how long it will take.
There are all these negative things space on the left side.
This is really intentional.
Hitchcock is mirror shot
initially from the sequence
where Marion is taking a shower
right in the right hand side of the frame.
That was the book that ended it made a bathing scene.
My favorite piece is the hand that came around to the curtain and it suddenly from the staccato rhythm
You end up with this shot is completely liquid
which has a sort of almost, sort of, poetic and sad quality for that.
He is dying and there is tenderness for it
and it makes it directly emotional.
S really, is really a good cut.
That's... that's one of the best pieces I've ever seen.
You can barely see the outline
from my breasts in that shot. That's my hand.
And you can tell the difference in my knuckles there.
the ring finger, uh was a little damaged.
The nail is darker from the usual fingernails.
When I was three years old, I... I reached out to help me
brother on, uh, lawn mower
pushing a lawn mower and, pssh, stop it.
Here he shoots it, uh, Cecil B. DeMille really did it first
in "The Ten Commands"
where Sally Lung lowers the curtain.
This shot,... shot down, he just feels very vulnerable
like, like a dying animal.
It's just like that, once again, is like a brave shot
because... is very similar, nakedness revealed.
There is a shot in the bathroom
it was never used
it's one of the most heartbreaking shots
I have never seen.
Anne Heche, she must be willing to do things.
The one who shot at the end, where he slipped
that is the shot Hitchcock cannot be used.
But it is a storyboard.
There is an objection to use it
and maybe, Hitch feels
it's not really necessary .
Then we come back
the motive from the shower
expressionless eyes, just watched
this is terrible something happened.
This shot from the shower in starts from the scene
is one of joy, he will get a new start.
And now the same water is washing away proof of him existence and murder.
Water continues to flow and blood flow
but heart stops.
This is truly an amazing picture to see his life flows to the sewer.
You know, what's the metaphor.
And then switch to the eye, right?
Aw, come on.
That's very good.
I want to know how long it took the shot, how long he had to hold it.
To get his eyes to stay...
Only to ensure that the eyes do not move.
You can... You can look a little, I mean...
God, it's amazing.
The pointless... spiral universe
and how everything is finally pulled down
the doll headed to oblivion
towards no means death.
I think to some extent we see the fear of Hitchcock
as well as as his obsession.
You see it on "Barton Fink," you see in many films.
And you like, why did he get into the sewer?
Why does he go inside, are we going to go inside?
It's time from "Psycho"
where everything changes.
This is made by
auteur filmmaker
and that is a very personal stamp.
It ruptured in the film
but the movie never reaches
this type poetry again.
And you start to realize that
"Oh, this is what's really
most important to Hitchcock."
Tomasini has finished clockwise optical turn
then is right here
hooks back to 24 trailer frames.
I am only amazed that they can get a clean one.
Usually, when you do it an optical, it's pretty rough.
But it looks very subtle and very beautiful.
This is surprising............ and smooth from where they went to take direct action.
This is me... like, one of the biggest optics in the history of films.
This is also like what is the order of the title
do it on "Vertigo."
This is the theme goes through this film
and then, of course
it's not an style just for the sake of style.
That... it got content.
The cameras are very large
and very difficult to manipulate.
You can actually see picture
from Hitchcock behind Mitchell
and you understand what it's like
take the train
behind that big camera locomotive.
Even though today, is very fast.
You only do it like that Gus Van Sant.
In that remake, he did all the direct action.
Setback from his eyes
is the whole robot moving camera.
I am seriously following
the original film was shot with a shot.
I can cut it exactly like the original
and we watch it
and it's weird and it doesn't work.
I said, "Yes, Gus, you know, come here, watch the scene."
I said, "I have some reservations
" more like, how it is playing now
and it doesn't feel like that the bathing scene yet. "
We entered and tried to make it
a little more Gus Van Sant-y.
To duplicate something, like
as an icon as a bathing scene
I really think it's fair , it won't work. It's just not and it doesn't happen. I always like the placement the water droplets
because they are like tears.
Right at the end there little flicker in his eyes a little spotlight in his eyes.
Yes, and you can see his eyes are moving.
There are tight, a little blinking there.
Hitchcock is almost fetishistically
stay alive in this case post-mortem moment.
This is what happened after you died
and no one dies water.
Hitch has a little finger snap to let Janet know when the camera has passed
and will go into the room.
That, it takes lots of taking.
I can feel moleskin
pulling away from my top.
So, I can feel this...
That's just the kind like going...
And I thought, "Do you know what?
" I don't want to do it this damn thing again.
I really don't want to. "
And there are all men in scaffolding. And I said," I don't, I don't go to be simple, "you know.
Let them be seen.
Why did you cut it? to the bathroom there?
I don't think the reason
something must be done with artistic decisions.
That's... the solution for some of the problems he has.
After my grandfather was filmed "Psycho"
it has been shown for all executives.
The last person he showed me was is my grandmother
and they sit in the playback room
and he found out and he saw my grandfather and said
"Hitch, you can't release this."
And he said, "Why not?"
And he left, "Janet Leigh took a breath."
They can't re-shoot, Janet is gone.
Uh, no has a budget.
So they just cut back to bathing spewing water.
Then, Cynical camera movements.
He made his moral decision and this was what made him.
There is a picture of the universe that doesn't care
if you want it.
And you see the title there, "Good."
I... I... it's not fine.
Nothing's fine.
He always returns to McGuffin
that is $ 40,000.
Then he throws the newspaper into the swamp.
Get off by car.
And the audience said, it's j... that's
...... is the money
what we think is important in this story.
That's really not important.
This is something else things in the film
who always torments me.
The biggest scene in film history
ends on the acid note
with a bad ADR line
that is doom from many films.
This is Norman just curious what happened
and oh, me, he can't believe it.
Other murders at the motel. How did it happen?
This is amazing effect.
This is a very important part of filmmaking to sort of let the consequences really land.
This is not about getting blood stains out of the bathtub.
About this
incredible tiring process
that this is irresistible
a broken soul need to be done.
It demands not only that we watch when we watch
the murder was from Marion Crane
but we also voyeurs to
creepy world of Norman.
For me, cleansing is represented
Alfred Hitchcock sense of order
taste, I'm not sexually raised by this woman
and I just will pretend
this unpleasant episode never even happened.
I think that cleaning always represents
sexual guilt.
You care about this person.
And I know that sounds crazy, but you do it.
You want to know if will happen to him.
You want to know whether he will be free from this
or does it run to consume him?
The fact that he was able to to make you care
is one of the magic films.
"Psycho" obviously has influence
overall a number of films.
"Psycho" is the mother of the slasher genre.
The shower scene is really the first, um, fully sexual on the screen, um, knife attack.
You have Mario Bava in Italy
and he takes the visual from the "Psycho" scene.
In Italy, in the 60s
they don't have the same censorship law
Bava takes the Hitchcock style
and really created Giallo Italian films.
Dario Argento exploded to the scene
with "Bird with fur crystal"
determined to present murder as a form of art consistently having sexual relations and documenting the murder
um, um, try to present it as something beautiful
catharsis and almost orgasm that occurs
again and again in his work.
Then, of course, American films
began to imitate Italian Films.
And you get waves 80s slasher films started
with John Carpenter "Halloween."
"Psycho" maybe also really started
rather negative tendencies victims of undressing
before they were slaughtered, which is something
a haunted cinema throughout the 70s.
Martin Scorsese talks about
construction fight
in "Raging Bull," with Sugar Ray Robinson.
I really understand shot-by-shot solving
from the bathing scene in "Psycho"
and there really is my original storyboard for this one shot-by-shot
and shoot it in that order.
I don't believe in the influence of the film culture in this case again.
When... a moment violence is very suggestive
very new, very different whatever we see
it only becomes
part of the culture conversation
and I think that's what happened
with a bathing scene.
I'm on this TV program called "Screen Queens."
I have been asked to take a shower
and take photos before.
I have been asked to make it back.
And I already said "No" all the time
because of course, um, this is my mother's inheritance and it's not mine, to play.
This is the sandbox.
But my mother has long been now more than 10 years.
And this is a good show.
And that is very respectful
funny, respect.
And so the Red Devil came in
He tore the curtain but I'm not there.
And that time I came from behind the bathroom door
attack him and just before I did it, I saw him and left
"I saw the film like, 50 times!"
I'm back in Chicago
shoot, uh, Closing September 1960.
I have worked in Playboy Club
until maybe October that year.
I am one of the, uh, genuine, uh, rabbits there.
I never mentioned "Psycho."
The shot I don't like it
when, uh, Tony Perkins pulled me out of the bathtub
and wrap me inside, on the shower curtain.
He picked me up Take me to the trunk.
Well, he, he made me realize, I don't know, six, nine inches
from the floor and drop me back
because of him... he is not in a position to take dead weight.
He picked me up, put me on his knee and then...
... and that's me.
And that, uh, comes out to the car and that's the end m