Psycho (film Series) - History (1959–1997)

History (1959–1997)

Psycho is based on the 1959 novel of the same name by Robert Bloch which in turn is based loosely on the case of convicted Wisconsin murderer Ed Gein. Both Gein and Psycho's protagonist, Norman Bates, were solitary murderers in isolated rural locations. Both had deceased, domineering mothers, and had sealed off one room of their house as a shrine to their mother, and both dressed in women's clothing. However, there are many differences between Bates and Ed Gein. Among others, Gein would not be strictly considered a serial killer, having officially killed "only" two people. Peggy Robertson, Hitchcock's production assistant, read Anthony Boucher's positive review of the Bloch novel and decided to show the book to Hitchcock, even though readers at Hitchcock's home studio Paramount Pictures rejected its premise for a film. Hitchcock acquired rights to the novel for $9,500. He reportedly ordered Robertson to buy up copies to keep the novel's surprises for the film. Hitchcock chose to film Psycho to recover from two aborted projects with Paramount: Flamingo Feather and No Bail for the Judge. Hitchcock also faced genre competitors whose works were critically compared to his own and so wanted to film new material. The director also disliked stars' salary demands and trusted only a few people to choose prospective material, including Robertson. Paramount executives did not want to produce the film and refused to provide the budget that Hitchcock received from them for previous films with the studio. Hitchcock decided to plan for Psycho to be filmed quickly and inexpensively, similar to an episode of his ongoing television series Alfred Hitchcock Presents, and hired the television series crew as Shamley Productions. He proposed this cost-conscious approach to Paramount but executives again refused to finance the film, telling him their sound stages were occupied or booked even though production was known to be in a slump. Hitchcock countered with the offer to finance the film personally and to film it at Universal-International if Paramount would distribute. He also deferred his director's fee of $250,000 for a 60% ownership of the film negative. This offer was finally accepted. Hitchcock also experienced resistance from producer Herbert Coleman and Shamley Productions executive Joan Harrison, who did not think the film would be a success. Hitchcock hired writer James Cavanaugh to write a draft of the screenplay. Unsatisfied with Cavanaugh's screenplay, Hitchcock then hired up-and-coming writer Joseph Stefano to adapt the novel. The film began shooting in December 1959 and would go on to last about a month. It was filmed mostly on the backlot of Universal and in various sound stages. During shooting, Hitchcock was forced to uncharacteristically do retakes for some scenes. The final shot in the shower scene, which starts with an extreme close-up on Marion's eye and pulls up and out, proved very difficult for Leigh, since the water splashing in her face made her want to blink, and the cameraman had trouble as well since he had to manually focus while moving the camera. Retakes were also required for the opening scene, since Hitchcock felt that Leigh and Gavin were not passionate enough. Leigh had trouble saying "Not inordinately" for the real estate office scene, requiring additional retakes. Lastly, the scene in which the mother is discovered required complicated coordination of the chair turning around, Miles hitting the light bulb, and a lens flare, which proved to be the sticking point. Hitchcock forced retakes until all three elements were to his satisfaction. The famous shower scene took a week to complete and took up a third of Janet Leigh`s shooting time. Psycho was released on June 16, 1960 to mixed critical reception and financial success, making thirty-two million dollars in its theatrical run. The film received four Academy Award nominations.

In 1982, author Robert Bloch published his novel Psycho II, which satirized Hollywood slasher films. Upset by this, Universal decided to make their own version that differed from Bloch's work. Originally, the film was intended as a made-for-cable production. Anthony Perkins originally turned down the offer to reprise the role of Norman Bates, but when the studio became interested in others (including Christopher Walken), Perkins quickly accepted. The studio also wanted Jamie Lee Curtis (daughter of Psycho star Janet Leigh) to play the role of Mary Loomis. Director Richard Franklin was hired to direct Psycho II because he was a Hitchcock student and even visited him on the set of Topaz, and because a year earlier, Franklin made a film called Roadgames starring Jamie Lee Curtis which was influenced by Hitchcock's 1954 film Rear Window. Franklin hired writer Tom Holland to write the screenplay after Franklin had seen The Beast Within, which Holland had written. Holland stated: "I approached it with more trepidation because I was doing a sequel to Psycho and I had an overwhelming respect for Hitchcock. You didn't want to mess it up, you really had almost a moral obligation to make something that stayed true to the original and yet updated it the same time. It really was the next step, what happens when Norman gets out". The assistant director of the original Psycho, Hilton A. Green, was contacted and asked if he wanted to produce the film. Green, fearing that Hitchcock may not have approved of sequels to his films, called Hitchcock's daughter Patricia Hitchcock and asked what she thought of the film. Patricia Hitchcock gave her blessing to the film, saying that her father would have loved it. Psycho II was filmed at Universal Studios in Universal City, California on Stage 24 from June 30, 1982 to August 1982. The Bates house set was still standing from 1960, but the motel had to be reconstructed. According to Richard Franklin, filming lasted 32 days. The film was made much like the first film; it was mostly shot on the backlot of Universal and on a number of sound stages. Several props and set pieces from the original film were found by set designers John W. Corso and Julie Fletcher. The town of Fairvale (seen when Lila Loomis is tailed by Dr. Raymond) is actually Courthouse Square, which is located on the Universal Studios backlot in California. Both Franklin and Holland wanted the film to be a tribute to Hitchcock and the original film; to accomplish this, they added in various in jokes such as the scene when Mary and Norman first go into Norman's mother's room, before they turn the lights on; one can see Alfred Hitchcock's silhouette on the wall to the far right. Franklin also repeated various shots from the original film such as the shot where Norman walks into the kitchen and sets his jacket down on the chair. Perkins had difficulty working with actress Meg Tilly due to Tilly never seeing the original film and not being aware of the significance of Perkins' comeback role. Midway through production, Perkins suggested that Tilly be replaced even though half of her scenes had been shot. The ending of the film was kept secret during production. The final pages of the shooting script with the ending on it weren't distributed to cast and crew until the last day of filming. The iconic last shot of the movie with Norman standing in front of the house was used as a Christmas card for various crew members. When Universal presented concept art for the one-sheet film poster, director Franklin wasn't pleased with it. It was editor Andrew London who came up with the idea of using the Christmas card photo as the film poster and also came up with the tagline: "It's 22 years later and Norman Bates is coming home". When the film opened on June 3, 1983, it earned $8,310,244 in its opening weekend and went on to gross about $34,725,000, making it one of the top hits of the year, just behind Star Wars Episode VI: Return of the Jedi. Psycho II was received generally well by the public and critics and was a surprise box office success. However, film critics Gene Siskel and Roger Ebert both gave the film thumbs down on At the Movies, specifically for its failure to live up to the original. "I think the ghost of the original," said Siskel, "obviously hangs over this movie, and it's too bad because it's a nicely made picture." Ebert wrote of the film: "If you've seen Psycho a dozen times and can recite the shots in the shower scene by heart, Psycho II is just not going to do it for you. But if you can accept this 1983 movie on its own terms, as a fresh start, and put your memories of Hitchcock on hold, then Psycho II begins to work. It's too heavy on plot and too willing to cheat about its plot to be really successful, but it does have its moments, and it's better than your average, run-of-the-mill slasher movie." In the British magazine Empire, film critic Kim Newman gave the film three out of five stars, calling Psycho II "a smart, darkly-comic thriller with some imaginative twists", writing " The wittiest dark joke is that the entire world wants Norman to be mad, and ‘normality’ can only be restored if he’s got a mummified mother in the window and is ready to kill again."

With the surprise financial and critical success of Psycho II, Universal began development on a second sequel. Writer Charles Edward Pogue was hired to write the screenplay. In Pogue's first draft of the film, it was Duane who was the killer and had intentionally come to the Bates Motel because he was obsessed with Norman. Maureen was a neurotic psychologist who had come to the motel to replace Dr. Raymond from the previous film. Pogue had intended to cast original victim Janet Leigh in the role. Universal rejected these ideas, arguing that Bates had to be the killer and Leigh was wrong for the film. However, Maureen's actions remained virtually unchanged; her character was merely changed to a young nun. After the second draft of the screenplay was completed, it was sent to Perkins as an acting job. After Perkins read the script, he wanted to direct the film, saying he would do it for nothing. Universal agreed to this. When the film went into pre-production, Anthony Perkins asked Psycho II director Richard Franklin to co-direct the film with him; however Franklin declined. Filming for Psycho III began in June 1985. Perkins' main inspiration for the style of this film came from the movie Blood Simple directed by the Cohen brothers. Before production began, he even took the entire cast and crew to a screening of the film. Like the two previous films, it was mostly shot on the backlot of Universal and in a number of sound stages. Despite Psycho III being Perkins' film directorial debut, the cast and crew have said in interviews that he was enjoyable to work with. Lee Garlington, who played the waitress Myrna, stated: "I have never to this date met a director who worked equally well with both the cast and crew. He was excited to be doing it, I adored him". During filming, actor Jeff Fahey suffered an on-set injury. When filming the scene where Norman is hitting Duke with the guitar, Anthony Perkins actually hit Jeff Fahey so hard that it cut his head open and he had to get six stitches. A shot of Fahey's actual injury was used in the final film. Universal originally wanted to release the film in February 1986 but the release was moved to July 2, 1986 due to various re-shoots that included the ending. Psycho III was released on July 2, 1986 to a mixed response from critics and financial failure. It earned $3,238,400 in its opening weekend and went on to gross about $14,481,606 at the domestic box office, becoming the lowest-grossing theatrical film of the Psycho movie franchise. Roger Ebert gave the film three out of five stars, saying: "Any movie named "Psycho III" is going to be compared to the Hitchcock original, but Perkins isn't an imitator. He has his own agenda. He has lived with Norman Bates all these years, and he has some ideas about him, and although the movie doesn't apologize for Norman, it does pity him. For the first time, I was able to see that the true horror in the "Psycho" movies isn't what Norman does - but the fact that he is compelled to do it." Vincent Canby of The New York Times said: "It has a cast of talented, self-effacing actors, who don't upstage the material, and an efficient screenplay by Charles Edward Pogue, who doesn't beat you over the head to prove that he has a sense of humor." Ken Hanke of Mountain Xpress called the film a "superior horror sequel stylishly made by star Anthony Perkins". Dave Kehr of The Chicago Reader said: "Perkins tries to imitate Hitchcock's visual style, but most of the film is made without concern for style of any kind, unless it's the bludgeoning nonstyle of Friday the 13th." Variety called the film "dependent almost entirely upon self-referential incidents and attitudes for its effect, and it eventually becomes wearying."

With the financial failure of Psycho III, Universal decided to continue the Psycho franchise as a television series, taking inspiration from the Friday The 13th and A Nightmare on Elm Street TV series. In this televised spin-off of Psycho, Norman Bates is portrayed by Kurt Paul, who previously stood in as a stunt double for Anthony Perkins in Psycho II and Psycho III. Perkins declined involvement in the project and even heavily boycotted it. The film was made as a pilot for a weekly anthology television series, but the series was never picked up. Thus, Universal decided to air the pilot as a made-for-TV film over the 4th of July weekend. The film received mostly negative reviews and low Nielson ratings.

A year after Bates Motel aired, production on Psycho IV: The Beginning began. Perkins wanted to direct the film and even came up with a pitch for the film along with Psycho III screenwriter Charles Edward Pogue; however Psycho III was a critical and financial failure so Universal rejected that idea and Mick Garris was brought in. Joseph Stefano was the screenwriter of the original film and was brought back to write the fourth film. He had disliked the two films between I and IV, feeling that they were too commercial and catered to the conventions of slasher movies. In an interview, Stefano stated "Gearing up for Psycho IV, I decided to ignore the two sequels – like the business in II about Norman’s mother." Actress Olivia Hussey was directly offered the role of Mrs. Bates. It was the intention of writer Joseph Stefano to make her at a young age as attractive as Norman had been in the first film. When Henry Thomas was cast as Young Norman Bates, Perkins wanted to meet with him and discuss the role. Thomas stated: (in the documentary The Psycho Legacy) "Looking back on it now, he knew he had to have this conversation with me but I don't think that he was really into it. He just gave me a few broad strokes and told me to play the character real, that was it." During filming, Perkins was diagnosed with HIV and had to receive treatment during production. Director Mick Garris has stated in numerous interviews that he had some creative control issues with Perkins. "He would get into long, drawn-out discussions in front of the crew, testing his director, making sure choices were not made "because it looks good", and seeing how deep the understanding of the story and process were. He could be very forceful, just shy of bullying, but also really appreciated helpful direction. I would have to say he was the most difficult and challenging actor I've ever worked with, but he ended up going on and on about how happy he was with the film. That was gratifying", Garris says. Psycho IV: The Beginning was filmed at Universal Studios Florida in Orlando, Florida from June 4 to July 13, 1990. The facade of the Bates Motel and the Bates mansion were re-created at the theme park. The production was originally to be filmed before the opening of the park but due to delays and the studio's desire to have a high-profile production on the lot, the film was shot while the park was open. This led to tourists being able to watch the filming of several scenes at the motel and house on the back lot. The film received mixed reviews when first broadcast on Showtime. Henry Stewart of L Magazine said: "Garris evinces high-grade professionalism, but his comic-book approximations of real emotions—like desire, madness and murderlust—feel empty. Hitchcock this most certainly ain’t." Ninja Dixon.com stated: "This is a good tv movie, way better than it's reputation, and continues the tradition of great acting in the series." Cult Reviews.com said: "The film is shot well, the fire sequence, by Rodney Charters, is particularly stunning. The only real trouble with this film is the bad writing, which, considering that it was the baby of the scriptwriter of the original, Joseph Stefano, is very disappointing indeed." Matt Poirier of Direct to Video Connoisseur.com stated: "This was a pretty unmemorable movie. It tried to make references to the original, like one where Perkins cuts his thumb, and the blood going into the drain mimics the blood in the famous shower scene. Way too obvious and pretty obnoxious." Despite some negative reviews, the film received high Nielson ratings with around 10 million viewers watching the premiere.

In 1997, Universal announced that a remake of Psycho was in production with Gus Van Sant directing. The audio commentary track that accompanies the DVD release of the film, and the "making-of" documentary (Psycho Path) that the DVD includes, provide numerous details about where the film strived to remain faithful to the original, and where it diverged. Some changes are pervasive: as the film opens, it is made clear that it is set in the late 1990s, so minor changes are made throughout the dialogue to reflect the new timeframe. For example, all the references to money are updated (how much Marion Crane steals, how much a car costs, how much a hotel room costs), as are references to terms from the original script like "aspic" that would seem anachronistic in the new setting. According to Van Sant, in the original the only fully fleshed out character was Norman Bates; the other major characters were more iconic, purposely written and portrayed to advance the plot; Van Sant relied upon his main cast more to flesh out and make consistent their character's motivations and worked with them to determine to what degree their characters were similar to the originals. William H. Macy, chose to stay true to the original, while others, such as Vaughn and Julianne Moore, interpreted the dialogue and scenes from the original film differently; Moore's version of Lila Crane, for example, was much more aggressive than the one portrayed by Vera Miles, and there are differences in Marion Crane's evolving attitudes about the money she stole. The cinematography and the cinematic techniques were consistent between the two films in many of the film's most memorable scenes, including the shower scene, scenes of the mother, scenes of the swamp, and the scene of Arbogast on the staircase, but other scenes changed significantly, particularly the climax, and the Dr. Simon monologue at the end, which was much shorter. Van Sant's comments from the commentary track attributes many of the updates to the need to make the film more accessible to a new audience.The film earned $37,141,130 in box office, $21,456,130 of which came from North America. Estimates of the production budget range from $20 million to $60 million; while promoting his 2002 film Gerry, Van Sant said he thought the producers "broke even" financially. This version of Psycho received mostly negative reviews; it was awarded two Golden Raspberry Awards, for Worst Remake or Sequel and Worst Director for Gus Van Sant, while Anne Heche was nominated as Worst Actress. Camille Paglia commented that the only reason to watch it was "to see Anne Heche being assassinated", but that "it should have been a much more important work and event than it was." A number of critics and writers viewed Van Sant's version more as an actual experiment in shot-for-shot remakes. Many people refer to this film as a duplicate of the 1960 film rather than a remake. Film critic Roger Ebert wrote that the film "demonstrates that a shot-by-shot remake is pointless; genius apparently resides between or beneath the shots, or in chemistry that cannot be timed or counted." Screenwriter Joseph Stefano, who worked on the 1960 version, thought that although she spoke the same lines, Anne Heche portrays Marion Crane as an entirely different character. Even Van Sant admitted that it was an experiment that proved that no one can really copy a film exactly the same way as the original. Janet Maslin gave the film a positive review, calling it an "artful, good-looking remake (a modest term, but it beats plagiarism) that shrewdly revitalizes the aspects of the real Psycho (1960) that it follows most faithfully but seldom diverges seriously or successfully from one of the cinema's most brilliant blueprints"; she noted that the "absence of anything like Anthony Perkins's sensational performance with that vitally birdlike presence and sneaky way with a double-entendre ("A boy's best friend is his mother") is the new film's greatest weakness." Critic Leonard Maltin gave the film a rating of one out of four stars, or "BOMB" compared to the four stars he gave the original. He describes it as a "Slow, stilted, completely pointless scene-for-scene remake of the Hitchcock classic (with a few awkward new touches to taint its claim as an exact replica.)" He ultimately calls it "an insult, rather than a tribute to a landmark film."