Thriller- psycho

In a spur of the moment decision, Marion Crane decides to leave Phoenix with the $40,000 her boss entrusted to her to deposit at the bank. She's headed to her boyfriend Sam in Fairvale, California and the money will finally let them start their life together. After having spent a night in her car, she can't quite make all the way and spends her second night at the Bates Motel. There she meets Norman Bates, a shy and withdrawn young man who seems to be dominated by his mother. They chat for a while and as a result she decides to go back to Pheonix and return the money. She's still going to spend the night at the motel and decides to have a shower before going to bed. A week later Marion's sister arrives at Sam's store in Fairvale to tell him Marion has disappeared. Together with a private detective, Milton Arbogast, they begin searching the area and eventually come across the Bates Motel.



Directed by
Alfred Hitchcock

Writing credits
Joseph Stefano (screenplay)


Robert Bloch (novel)


Produced by
Alfred Hitchcock .... producer (uncredited)

Original Music by
Bernard Herrmann (music by)

Cinematography by
John L. Russell (director of photography)

Film Editing by
George Tomasini

Casting by
Jere Henshaw (uncredited)

Art Direction by
Robert Clatworthy
Joseph Hurley

Set Decoration by
George Milo

Costume Design by
Rita Riggs (uncredited)

Makeup Department
Jack Barron .... makeup supervisor
Florence Bush .... hair stylist
Robert Dawn .... makeup supervisor
Larry Germain .... hair stylist (uncredited)

Production Management
Lew Leary .... unit manager

Second Unit Director or Assistant Director
Hilton A. Green .... assistant director
Lester Wm. Berke .... second assistant director (uncredited)

Art Department
Curtis Baessler .... assistant props (uncredited)
Saul Bass .... storyboard artist (uncredited)
Bob Bone .... props (uncredited)
George Cook .... assistant prop shop (uncredited)
Dave Lee .... prop shop (uncredited)
Harold Wolf .... leadman (uncredited)

Sound Department
William Russell .... sound recordist
Waldon O. Watson .... sound recordist
Robert R. Bertrand .... mike technician (uncredited)
John Ruth .... cable man (uncredited)
Harold Tucker .... sound recordist (uncredited)

Special Effects by
Clarence Champagne .... special effects
Walter Hammond .... special effects (uncredited)

Camera and Electrical Department
Robert Aldridge .... grip: Phoenix (uncredited)
Jack Austin .... grip: Phoenix (uncredited)
Eugene Barragy .... key grip: Phoenix (uncredited)
Walter Bluemel .... assistant camera: Phoenix (uncredited)
Robert Burkett .... camera operator: Phoenix (uncredited)
Norman Cassidy .... best boy electric (uncredited)
William N. Clark .... second assistant camera (uncredited)
Eugene Cook .... still photographer (uncredited)
Bill Craemer .... still photographer (uncredited)
Alan Davey .... camera operator (uncredited)
Bobby Greene .... first assistant camera (uncredited)
Frank Harper .... key grip (uncredited)
George H. Merhoff .... gaffer (uncredited)
Saul Selznick .... second company grip (uncredited)
Jim Sloan .... first assistant camera (uncredited)
Leonard J. South .... camera operator (uncredited)
Richard Sutton .... best boy grip (uncredited)
Tommy Wilson .... electrician (uncredited)
Rex Wimpy .... director of photography: Phoenix (uncredited)
Rex Wimpy .... second camera operator (uncredited)

Costume and Wardrobe Department
Helen Colvig .... costume supervisor
Theodore R. Parvin .... wardrobe: men (uncredited)

Other crew
Saul Bass .... pictorial consultant
Saul Bass .... title designer
Virginia Boyle .... stand-in (uncredited)
Everett W. Brown .... technical advisor (uncredited)
John 'Bud' Cardos .... bird handler (uncredited)
Frank da Vinci .... stand-in (uncredited)
Anne Dore .... double: Anthony Perkins (uncredited)
John Drake .... stand-in: Anthony Perkins (uncredited)
Margo Epper .... body double: Mother in shower sequence (uncredited)
June Gleason .... stand-in: Vera Miles (uncredited)
Charles S. Gould .... location director (uncredited)
Melvin Hilgenfeld .... technical advisor (uncredited)
William T. Hurtz .... director: animated titles (uncredited)
Myra Jones .... body double: Janet Leigh (uncredited)
Myra Jones .... stand-in: Janet Leigh (uncredited)
Richard Kindelon .... stand-in (uncredited)
Harold Lockwood .... stand-in: Martin Balsam (uncredited)
Paul Mathews .... stand-in: John Gavin (uncredited)
Jim Merrick .... unit publicist (uncredited)
Marli Renfro .... shower scene double: Janet Leigh (uncredited)
Peggy Robertson .... assistant: Mr. Hitchcock (uncredited)
Marshall Schlom .... script supervisor (uncredited)
Herb Steinberg .... publicity director: Paramount (uncredited)
Dolores Stockton .... secretary: Mr. Hitchcock (uncredited)

Shot Sizes!

canted angle shot is used to make the veiwer feel uncomfortable and uneasy.
A high angled shot is used to show the importance of people, when a high angled shot is used it means that the person is not that important as we are looking down on them.
An aerial shot is used to show the veiwer the perspective of a location

Worms eye veiw is used to make something to make an object look tall strong and mighty.

A low angled shot is used to show power, this is so that the viewer know who is the most powerful in the shot.
An establishing shot is used to show the viewer where the people are within a film etc. this is so that they get a better understanding of the location that the film is set in.
Point of veiw shot is used to show the viewer exactly what the person sees, this is so that they can get a grasp of what the viewer sees.

over the shoulder shots are used when people are talking, this is so that the veiwer can see the reaction from the other person.
Two shot is used to show people and there relationship with each other, this is so that the viewer can see what the people on the screen in a conversation or how far they are from each other.

Long shots are used to show peoples full body language to give the veiwer more of an understanding about the person and what they are doing.

Mid shots are used to see more of the person and their body language.

Medium closeups are used to see the person in the pictures emotions and some of their body language.

Extreme close-ups are used to show extra emotion in a different way, this is so that the veiwer can see more emotion within the picture.

Close ups are used to show emotion and enigma codes etc

Thriller.

My definition of a Thriler is that it is some thing that is designed to thrill the audience/viewer. This could be from many ways, Either pictures, SFX, added suspense etc.

Popular Thriller films since 1990.

• After Dark, My Sweet (1990)
• Die Hard 2 (1990)
• Do or Die (1991)
• The Silence of the lambs (1991)
• Final Analysis (1992)
• Under Siege (1992)
• Jurassic Park (1993)
• The Vanishing (1993)
• Silent fall (1994)
• The Specialist (1994)
• Bad Boys (1995)
• Die Hard With a Vengeance (1995)
• Maximum Risk (1996)
• Primal Fear (1996)
• Bad day on the block (1997)
• Murder at 1600 (1997)
• A Perfect Murder (1998)
• Psycho (1998)
• The Generals Daughter (1999)
• Goodbye Lover (1999)
• The 6th Day (2000)
• Anatomy (2000)
• The Fast And The Furious (2001)
• From Hell (2001)
• Blade II(2002)
• Dirty pretty things (2002)
• Anatomy 2 (2003)
• Fear X (2003)
• The Crimson Rivers II: The Angels of the Apocalypse (2004)
• The Punisher (2004)
• Derailed (2005)
• Empire of wolves (2005)
• Children of men (2006)
• The departed (2006)
• Before the Devil Knows You're Dead (2007)
• Live Free or Die Hard (2007)
• Donkey Punch (2008)
• Poison ivy: the secret society(2008)
• The Girl Who Kicked the Hornets' Nest (2009)
• The girl who played with fire (2009)

Analysis of Alfred hitchcock North by northwest

At the start of the opening sequence, the lines on the screen move from the right diagonally and from the bottom vertically, it is an animated sequence. It makes the screen look like a grid, and gives it perspective. As the titles appear on screen they follow the grid. The arrows on the title of the film point north west and north.

As the opening sequence carries on, the grid dissolves into a building, which looks like a skyscraper in new york. You can tell that it is new york as the skyscraper is acting like a mirror and therefore you can see the street next to it, where yellow cabs are driving. The mirrors that are used can also be diseeving

The traffic in the mirror of the skyscraper dissolves into people walking. Creative geography is sued as where the people are walking is at the entrance/exit of a building, which makes the audience believe that it is the entrance/exit of the skyscraper. As the people are exiting the building the audience can automatically tell that it is rush hour as the people walking look like there in a rush, All the people in the shot are dressed formally so therefore the audience can tell that the people had been at work.

you can tell that it is not that hot as there is a man selling newspapers in a shirt. people are going in all sorts of directions making the title sequence look quite rushed. You could also get the feeling that is it rush hour as when the 2 women are fighting over a cab, as it is uncivilized behavior.

The music in the background of the title sequence is quite fast as it adds a sense of rush. It is very dramatic and chaotic. Brass instruments such as violins, trumpets and flutes are playing. The soundtrack fits in with the people in the sequence as it is fast and the people are walking fast. It has a orchestrial sound and is classically composed. The image on its own can paint a bigger picture than the music adds.