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TSP Watch Along Ep 1: Psycho
10 Plays4 days ago
In this new episode format, Tom and Steve have a watch along of the film Psycho, Alfred Hitchcock's masterpiece film and arguably the first slasher.
So come along with us and watch together!
Recommended
Transcript
Introduction and Episode Theme
00:00:00
Speaker
All right. Welcome everyone to ah Twin Shadows podcast, podcast about film filmmakers and filmmaking. This is going to be a special episode.
Episode Format and Listener Engagement
00:00:10
Speaker
We're finally doing ah the Criterion.
00:00:13
Speaker
We're finally getting to it. And we had a much different, or you had a much different idea for this one, but that required a lot of work. Yeah, it did. And um we're kind of doing like the compromise, the easier version of that. Yeah. And so this one's going to be a little off the cuff.
00:00:30
Speaker
um We're going to essentially do a mystery science theater or what do they call them? Watch alongs? Yeah. We're going to do like a commentary watch along. Yeah. So this is our first one. There's no rehearsal. Tom knows all the information about Psycho.
00:00:44
Speaker
i know nothing. But... We're going to try it out. So anyone out there, if you have any suggestions suggestions of what we could do better, maybe we talk less, maybe we talk more.
00:00:55
Speaker
Or even if you just like this
Cultural Significance of 'Psycho'
00:00:57
Speaker
format. um This is what would not be the ideal format if you've never seen the movie. So if you've never seen Psycho, watch Psycho and then listen to this episode. Yeah, watch it first itself because, you know, Psycho is... Worth it. Well, I would say arguably the most iconic film in the current zeitgeist.
00:01:17
Speaker
It's one of them for sure. you know And it's the last great Hitchcock film, I think. Everyone knows Psycho um through osmosis at the very least, right? Everyone knows that ee, ee, ee.
00:01:30
Speaker
And the shower scene. and And Norman Bates. and Yeah, even if you've never seen it or know anything about movies, you probably know about Psycho to some degree. I mean, I know I did before I ever watched it. I mean, I pretty much knew the entire story of Psycho before I ever watched it.
00:01:45
Speaker
I mean, the trailer to Gus Van Sant's remake like traumatized me as a child. Yeah, and interestingly enough, that could be a nice pairing to watch after you see Psycho because as far as I know, the Gus Van Sant movie is essentially a shot-for-shot remake yeah of the original.
00:02:08
Speaker
And yet you can see how much of an effect a director can have on a film because I know the Gus Van Sant movie was widely panned from what I remember.
00:02:19
Speaker
um I don't know how it's treated now, but that would probably be a really interesting comparison film to just see how much of an effect a director can have. And of course, you're talking about Hitchcock, one of the greatest filmmakers of all time.
00:02:34
Speaker
Yeah, I think ah I've never seen the remake or the Gus Van Sant version. But I mean, Psycho is it's so freaking iconic. And I mean, it really did kind of kick off horror, ah like, slashers and just that kind of genre. Like, yeah, there were films before. Like, you know, you got Peeping Tom.
00:02:59
Speaker
Yeah. And you got other films, but nothing had that cultural splash like Psycho had. Yeah, I mean, Psycho's always considered, like, the first of the slashers, right?
00:03:10
Speaker
Yeah. It's always given that. Even though, like, Peeping Tom is... Peeping Tom's definitely more like... slash It's more of a slasher than Psycho.
Hitchcock's Challenges and Innovations
00:03:18
Speaker
It's definitely more in line with ah the slasher genre. and Let me ask you this one. yeah Which one's better?
00:03:26
Speaker
Peeping Tom's super good. and But Psycho... There's a reason Psycho is. Psycho is just iconic though, huh? Yes. I mean, it's ah and there it's interesting because it's also, i think, one of Hitchcock's like cheapest movies.
00:03:41
Speaker
Really? like he had like no budget. No one was gave him money to make this. Yeah. ah his last The film that he did before this, like but if I'm not mistaken, was Vertigo, which kind of bombed at the box office.
00:03:52
Speaker
Yeah, it did, huh? It was received really poorly, which is crazy because Vertigo is considered like one of the greatest movies ever made. And it is- And considered his greatest, right? Yeah. And Vertigo is- Have you ever seen it? It's really fucking good.
00:04:04
Speaker
um It's really trippy and weird, and Kim Novak is like super hot. and Right? like you know It can't really go wrong. i mean, you got Jimmy Stewart in there, and that like yeah ended his friendship and lifelong career with Jimmy Stewart. Yeah.
00:04:20
Speaker
With Hitchcock. Because Hitchcock blamed the failure of Vertigo that Jimmy Stewart was too old to be a leading man. oh well, he was he was up there in that film. He's definitely not a young buck, but man, dude, like, I mean, what an asshole. i mean, Hitchcock kind of an asshole. I mean, if personally, he's a piece of shit, but he made good movies, so.
00:04:43
Speaker
Okay. Well, um yeah. So let us know on your thoughts and we'll go ahead and try this new thing out. See how we like it ourselves. Yeah, yeah, yeah. mean, we have we've never done anything like this. I don't i mean, I'm guessing we're going to try to keep talking about...
00:05:00
Speaker
um I mean, we can't talk the whole time, right? No, we can't talk the whole time. But I'm also kind of looking at... like I would probably be like bringing up, like you know what do you think about like this angle? like What's interesting about the way this scene is depicted? Because I was... ah And you can actually see how smart we are when we dissect our films. We're going to try and go through and kind of look at this as well.
00:05:21
Speaker
ah So, yeah, if you've never seen Psycho, watch Psycho and then come and watch it along with us and you can hear our thoughts and input and kind of see how people who are trying to be filmmakers or our filmmakers like kind of like look and critically look at films and break them down and analyze a movie and also just...
00:05:40
Speaker
You know, just ah enjoy ah one of the greatest films in cinematic history. Yeah. And without further ado, how are we going to do this? Should we just do like a 3-2-1? Yeah, figured we'll do a 3-2-1, but you you have ah your phone in front of you. oh that's right. Did you want to try that too? Did you?
00:05:59
Speaker
Yeah, I'll try for a little bit. I mean, I gotta be a little careful. I was gonna say, you this looks deadly. I can ah sip more than chug. Yeah, that's fair. So, we did I did look up a psycho drinking game.
00:06:14
Speaker
if anyone If any of the folks at home wanna play along, here are the rules. You need to take a drink or sip every time the word baits is said. You have to drink every time. Norman references taxidermy or birds.
00:06:29
Speaker
You hear Mrs. Bates speak. A wide shot of the house on the hill is shown. Okay. Someone gets into a car. Someone is murdered. The classic psycho theme starts playing.
00:06:42
Speaker
Oh, shit. The stolen cash is referenced. And a knife is shown. So, essentially, you're going to drink the entire time, right? going drink a lot. And then you're goingnna you're going to finish your drink...
'Psycho' Watch and Commentary
00:06:53
Speaker
Twice throughout the movie. When the shower scene starts, you're supposed to finish your drink. Okay. And when at the very end, when you finally meet Mrs. Bates. So do you think you'll be able to keep tabs and be like, ding, ding, ding, drink?
00:07:05
Speaker
Yeah, I'll just be like, oh, oh. Okay. I'll try. Because it sounds like we're just going be drinking the entire film. I mean, it's going to be a standard Twin Shadows podcast. I'll probably just black out. and We'll see what ends first. Us or the film? Yeah.
00:07:21
Speaker
We'll see. yeah yeah Can we out-psycho the psycho? ah psycho All right. Without further ado, we're going to hit play. with We are watching the uncut version. I don't know what the difference is, if the runtime is that different, but ours is an hour and 49 minutes.
00:07:37
Speaker
Oh, we're watching that uncut version. Yeah, that's just what the that's what it said on the file description. so Okay. Yeah, if you're watching along, we're going to start the movie.
00:07:48
Speaker
hear Well, I'll go ahead and count down. So three, two, one. why Should have took, yeah. All right, okay, so we're going try this again.
00:07:59
Speaker
are you you got to click on the movie or else. Okay. Three, two, one. Here we go. oh I hear it.
00:08:12
Speaker
So first interesting fact. The Universal execs did not believe that Hitchcock could pull this movie off, so they did not give him any money. So then why would why did they want him to do it?
00:08:25
Speaker
He wanted to do it. He knew it it was going to be... ah hit. A hit. So this was kind of like his pet project then, too? In a sense, yeah.
00:08:36
Speaker
Oh, great. That's a drink.
00:08:41
Speaker
Saw Bass titles. He did a lot of Hitchcock's intros and posters, right? Yes. And he's considered one of the great graphic designers.
00:08:54
Speaker
just slowed and interesting And interestingly, there's a a controversy... There's a controversy about the shower scene. Saul Bass claims he's the one that directed it.
00:09:08
Speaker
Really? Because he did ah photo storyboards for every single shot. Oh, okay. ah And the shower scene took weeks and weeks and weeks to shoot.
00:09:20
Speaker
And there's all these rumors and because there was a nude stand-in. and Yeah. Yeah. Janet Leigh is Marion Crane. Well, who was on set? That's the thing.
00:09:32
Speaker
Janet Leigh says Hitchcock directed all of it. Wow. But Saul Bass is like, it's full of shit. I directed it. so Interesting. And then there are rumors that a Japanese crew was brought in to direct that scene because of the graphic nature.
00:09:47
Speaker
I'd be like, oh, arigato. Oh, yes. Shower. Sushi sour. All right. You know, these...
00:09:59
Speaker
These are some pretty cool credits. I will, you know, Saul Bass. Yeah, he's amazing. um I love looking at his posters.
00:10:11
Speaker
I feel like I'm... Look at Bernard Herrmann. Bernard Herrmann, great score. Hitchcock doubled his his payout because the score was so good. Damn. Are we going to do that for... No.
00:10:25
Speaker
I mean, I hope it's great. I mean it's going to great, but can't afford it, unfortunately. Interesting here, it's underexposed. This was shot by the second unit.
00:10:36
Speaker
And the reason the film takes place in December is because the film was done was shot in December. Oh, they got a filter on the sky there. And when the rushes came back and Hitchcock saw that ah everything was had Christmas decorations, he was like, what the fuck?
00:10:51
Speaker
Why'd you shoot with Christmas decorations? They weren't planning for it to be in December. yeah and But yeah, there's Christmas decorations and stuff that you're supposed to be able to see. and Oh, okay. it kind of screwed up the film a little bit and I had to incorporate, had to save his own ass. That's why no one's like wearing heavy coats or anything. Cause it, it was, uh, supposed to be warm, uh, in the summer.
00:11:12
Speaker
Oh, okay. Wow. I never, so you, you can actually see the Christmas directions. They're supposed to be Christmas decorations. Like when she's driving around town. Oh, okay. I have to look for it. Oh, look at her. Naughty girl.
00:11:29
Speaker
It's like the music's done. I can actually hear the movie now. Yeah, know.
00:11:34
Speaker
It's actually extremely risque for the time. It feels like it.
00:11:42
Speaker
You know, in a less sexy way, this is kind of what I had um wanted for Dickhead, the rich scene between Richard and Jennifer. They're going to making out naked? Not this sexy, but like playfully teasing. Like Jennifer's like teasing him.
00:11:55
Speaker
Oh, yeah. And...
00:11:59
Speaker
It's supposed to be like, the um yeah, of course. The drinking game for our podcast would be, every time they talk about dickhead out of nowhere, take a shot.
00:12:10
Speaker
Every time we say like, take a drink. Oh God, people will die. Wow, that music was so loud.
00:12:28
Speaker
And it's- You know, interestingly, he kind of looks like Norman Bates, her beau there. Yeah. But like a hunky version. He's like the Henry Cavill Norman Bates. He definitely is. He looks like a young Cary Grant.
00:12:40
Speaker
Yeah, he does.
00:12:48
Speaker
And Janet Leigh, right? Lee. Lee? That's Jamie Lee Curtis's mom, right? Correct. Is her last name L-E-E? L-E-I-G-H.
00:12:59
Speaker
Because Jamie Lee Curtis, is that like her mom's name and her dad's name? Yeah, because her dad is Tony Curtis. Yeah.
00:13:08
Speaker
Another great actor.
00:13:14
Speaker
<unk>h that was a fast cut. You would asked for more, wouldn't you? You'd have been like, give me just a couple more frames, Tom. Eight more frames. Eight more.
00:13:27
Speaker
Films shot in black and white because it's cheaper.
00:13:33
Speaker
What year did Psycho come out? 1960. I mean, it's funny because it's like Hitchcock. He did a low budget thriller and it's like one of the best movies ever made.
00:13:46
Speaker
Yeah.
00:13:54
Speaker
Is this restored at all? It is, huh? Yeah, I think so. This is the Blu-ray. Because this looks gorgeous.
00:14:02
Speaker
Just the tonality.
00:14:12
Speaker
I love that this film starts off like it's a completely different movie. Well, you know, the first time I saw this film, obviously I knew what was going to happen. And I was still shocked.
00:14:29
Speaker
Oh my God. ah yeah. Look my stamps. Jesus.
00:15:01
Speaker
So he has no idea what her plans are, right? No.
00:15:08
Speaker
Oh yeah, no, he kind of has an idea. They're going run away together, but I don't think she's committed to.
00:15:26
Speaker
That's a pretty strong opening, right? In the bedroom, half naked.
00:15:38
Speaker
And even just the framing of all of this, you know? way they play with the set design throughout the film. And then Janet's centered there. Right? Hot as milk? It's fucking December.
00:16:03
Speaker
Imagine, dude. Right? Yeah. You've shot all this part already. It comes back and you're like, oh, fuck, we got to make it in December. No one's wearing a fucking coat.
00:16:47
Speaker
There's our ward. Yeah. Of course, his name's Tom. wow What can you say, man? If a shoe fits.
00:17:25
Speaker
Yeah, because right they're always planning on running away together. But now this opportunity presents itself. So everything's on the fly for her then. Yeah.
00:17:37
Speaker
You know, Hitchcock, he's not afraid to do those quick cuts.
00:17:43
Speaker
That's why a quick cut in our film.
00:17:47
Speaker
Hitchcock told me. Just like Psycho.
00:18:03
Speaker
how much Do you have any idea how much $40,000 would be back then? It's probably hundreds of thousands now. yeah Maybe $200,000 roughly, something like that.
00:18:14
Speaker
For a small bank too, huh? And that's also pre-Trumpflation. Put her in her purse. Like, well, see you guys. I'll be right back. I'm going to get some coffee for Mr. Lori.
00:18:49
Speaker
Everything is set up so beautifully in this film. Yeah.
00:19:02
Speaker
But you can with know. I get pretty happy when I take pills.
00:19:12
Speaker
Yeah, me too. And sleepy. Sleepy.
00:19:17
Speaker
Yeah, they show her in her bra a lot. We should have told Marianne, come on, Hitchcock did it.
00:19:24
Speaker
That's a great little like shot into an insert. And then it doesn't cut away, right? And just literally is like, the money's gonna go here. And then setting it up right with a packed suitcase. Yep.
00:19:36
Speaker
Because Hitchcock always liked to do that, right? Essentially let the audience know right's even before the characters knew. This is a beautiful example of showing and not telling. and Like what he said with the bomb under the movie theater seat. You know it's going to go off, but the audience doesn't.
00:19:53
Speaker
The characters don't know when it's going to go off, and the audience doesn't know when it's going to go off. But the audience know there's that bomb there. And it's going to go off at one point. yeah packed suitcase and a shitload of money would you steal it it'd have to be a lot i mean i feel like it's easier easier to get away with stuff like this back then as well oh yeah it's you you can't really escape anymore like facial detection dude they'll find you they'll find your ass i'd be like viva mexico
00:20:27
Speaker
you need a lot of money to go down and hide away in mexico still
00:20:33
Speaker
More than $200,000. Well, I wouldn't do it for $40,000 now. I made $40,000 in 1960. know. I guess could look it Let's i know like if it was like i guess i could look it up ah let's see
00:21:00
Speaker
Yeah, that Gentleman Jack's pretty smooth. Nutty. It's got a nutty taste to it.
00:21:11
Speaker
ands According to inflation.com, $40,000 in 1959 would have been worth roughly today. viva mexico
00:21:24
Speaker
That sounds like how much debt we're in for Dickhead. Yeah. Right? Look at that, dude. Her boss sees her. Oh, take a drink. ah Psycho music. Oh.
00:21:39
Speaker
Also ripped off by ah Quentin Tarantino in Pulp Fiction. What was? That shot. When Bruce Willis is sitting in the car and he Marcel's Walks walk by. Yeah. Yeah.
00:21:54
Speaker
Yeah, man. Black and white, dude. It really does have a beauty. That's a beautiful fade.
00:22:10
Speaker
And the great thing about this film, right? Because as of now, it's this getaway film. It's a heist film. Yeah. It's this... And then you see the cop flow. It's like, oh shit.
00:22:24
Speaker
That's how am every time I'm drinking. Drinking and driving. Every time I see a cop, that's how I feel, dude. As soon as they make any sudden movement, it's like, you know, they're on you. i don
00:22:37
Speaker
I love that that's just like shot out and like like off like Highway 14 or something, probably. yeah
00:22:49
Speaker
Just a little bit north of Hollywood. Soledad Canyon.
00:22:55
Speaker
So intense.
00:23:36
Speaker
Right? Like it's so obvious that there's something wrong. Yeah. Yeah.
00:23:49
Speaker
Something wrong.
00:24:09
Speaker
I like that. like you have this tense sense of fear of the cop. Yeah. And like his like overbearing nature and the tight on his face and the those dark black sunglasses.
00:24:20
Speaker
Yeah. And it's like, damn, dude, he's the like, we should be afraid of him. Fuck the police.
00:24:31
Speaker
Anal.
00:24:37
Speaker
Hitchcock that perv.
00:24:48
Speaker
Nope. Take a drink. up Okay. That's the only rule you remember, huh? The theme song? All the other ones are like Bates related. Yeah, Bakersfield. Los Angeles.
00:25:15
Speaker
And that's a such a great touch, right? Just a cop following her and just building that tension.
00:25:24
Speaker
And then, course, the music to perfectly accentuate.
00:25:29
Speaker
It's so funny because it's like... If the music wasn't there, there's like no... Well, I mean, it's still tense, but not as tense. But it's interesting how the some of those shots on the cop car is kind of like... don't think it was breaking the line or anything, but it felt off.
00:25:46
Speaker
It's be like unsettling. Yeah. Bakersfield. Oh, shit. She really fucked up. She drove far.
00:26:04
Speaker
She's got this planned all out. She's to switch and get a new car. Back in the old days where you could just do it easily, huh? I mean, shit, you can't do anything now without some kind of credit card trace. Yeah.
00:26:23
Speaker
That little bit with the music there always reminds me of Final Fantasy VI. Yes. You know which part i'm talking about, right?
00:26:32
Speaker
It's like always in the caves, right, or something? Mm-hmm.
00:26:36
Speaker
California, there you go.
00:26:43
Speaker
She needs to get a California car. So she's less suspicious.
00:26:51
Speaker
So was the bank in Arizona? So she drove all the way from Arizona now to Bakersfield? Oh, wow. Dang, and he's still following her, that fucker. Goddamn cops.
00:27:02
Speaker
He knew, man, right? Yeah. It's obvious that there was something wrong.
00:27:14
Speaker
It's set up so much like ah this crime thriller. It's like, is he going to get away with the money? and it's like that thought way you would like That ain't even the story yet.
00:27:37
Speaker
Wow. Being a woman, you'll do whatever whatever you want anyway. You don't know that.
00:27:56
Speaker
God, this the stuff with the cop, like i never I don't really remember that. It's so well done. Yeah, because when I saw it, I was like, oh shit, this is like completely switch. It switches genres just midway.
00:28:14
Speaker
you know, and like so fumes even to so few films even to this day just are bold enough to just switch a route like that on you.
00:28:45
Speaker
That's how I am when I go shopping for cars. Just gotta get out of here. You're you're gonna fuck me either way. Let's get over with quick.
00:28:52
Speaker
Damn, that's it?
00:29:01
Speaker
Beautiful cut. Beautiful cut to his face like... ah
00:29:16
Speaker
I love it, right? He immediately is like, wait, am I being conned? Yeah, and then he sees a cop back there too. Oh, dude. every All these little elements are added together to build up into this thing, right? You're just tense this entire time, right? Like a master class of of suspense. You have one moment of reprieve, and that's when you were in the bedroom with Sam, and now it's like, oh, God. and so much This is so much dickhead, right?
00:29:40
Speaker
yeah Yeah, exactly. Take a drink. We mentioned dickhead.
00:29:47
Speaker
And it's just interesting because, like, yeah, Dickhead is, like, Halloween and Psycho. It's, like... It's a mashup of everything. It's, like, us learning from those films. Yeah. How to, like... But, I mean, I never thought of Psycho. But we never did, right? But it was just, like, it's just... Just so much a part of filmmaking, right? And, like, look at the shot, dude.
00:30:07
Speaker
This is such a Steven shot. This high angle, looking down, like, she's, like, feeling oppressed and... I'll take it. yeah Always trying to do these shots. I mean, the only thing it would be.
00:30:19
Speaker
Someone had to be on ladder. Yeah. Be a perfect Steven shot. It'd need to be a bird's eye view. Just squashing the actress in the frame.
00:30:46
Speaker
This movie also has incredible pacing. Yeah. Especially for older films, man. So many older films are just, they feel so slow. You know? They linger.
00:30:57
Speaker
Yeah. Older filmmaking would just linger. dude. They need to give the you know the audience a chance to finish their smoke. yeah Yeah. And you know what? A lot of quick edits. um Because this was, what, 60 or 59? filmed of 59 and finished 60.
00:31:11
Speaker
Okay. Yeah.
00:31:15
Speaker
okay and because the cuts are pretty quick, you know. um I guess I'm thinking more like fifty s where the shots were just slower.
00:31:32
Speaker
I almost drove away without the suitcase. She's in such a hurry. i know, right?
00:31:39
Speaker
I mean, that cop has every right to be following her at this point. know. He's like, come on, lady. oh Take a drink. Oh, shit. This song's going to kill us.
00:31:50
Speaker
And then all three of them like, huh.
00:32:03
Speaker
I like you don't need this.
00:32:08
Speaker
No, but it also doesn't hurt. It doesn't hurt. I feel like this definitely is like an older style where it's like people were so are so dumb. It's like you got to help them a little bit.
00:32:19
Speaker
Well, then you're giving us a lot of credit now. Right.
00:32:25
Speaker
But also, was that like just what she's imagining? Yeah, right. You know, exactly that could just be her inner monologue. This just her paranoia. And all this paranoia is leading for her to stop at Bates Motel, which is like...
00:32:43
Speaker
Or maybe this is actually happening?
Analysis of Key Scenes and Characters
00:32:44
Speaker
And this keeping us up to date? It's up to interpretation, right?
00:32:53
Speaker
I love the lighting, dude. Oh, my God. Yeah. And it's not realistic lighting, obviously. There's a light in her face. Right. um But it's just beautiful. It's like, who cares?
00:33:03
Speaker
who cares? Who cares? Yeah, that's one thing i'm I'm liking less and less, especially because I've been watching the older movies. It's just sometimes you don't need the lighting to be natural, you know? Just just do something because it looks beautiful. Light it so it looks beautiful. I think we're coming back around that as like a style, as film.
00:33:21
Speaker
Because I feel like for so long, it was about everything was about naturalism and yeah and i trying to make things feel more real. But it's like, dude, no, like...
00:33:33
Speaker
Film is a dream, man. This is our form of dreams. Also, it's visual communication, right yeah so
00:33:44
Speaker
right? Right? She's starting like, ah yeah, I got away with it. yeah But then she's like, wait a minute.
00:33:57
Speaker
And her enjoying it, right? Enjoying what she did to them. so powerful.
00:34:06
Speaker
How are you doing your you' jack? Good. It's probably the beer I'm going to get soon.
00:34:21
Speaker
Oh, drink. Why? Because it's raining? The Hitchcock, the the music.
00:34:31
Speaker
Score's back.
00:34:42
Speaker
Yeah, films just don't look like this anymore, do they? No.
00:34:47
Speaker
And I can definitely see the Les Diaboliques influence. Did that have an actual influence? Really? He was pretty much, make this was his Les Diaboliques. He loved that movie so much.
00:34:58
Speaker
no shit. Yeah. Wow. Bates Motel, take a drink. yeah Well, Les Diaboliques is such a good film. I love that the light is broken on the no vacancy.
00:35:14
Speaker
Reminds me of that movie, Hello Motel, and the O is broken, so it just says Hell Motel. yeah You see that one, right? Oh, I love Hello Motel. ah Motel Hell. is what it's called? Motel Hell? Motel Hell. The one where they eat people they're growing them in the backyard. I think Yeah, and then the dude has a pig's head, right? Yeah.
00:35:33
Speaker
I watched that with my mom. Poor things I made her watch. He falls in love with like the super young girl.
00:35:42
Speaker
Oh, take a shot. Take a drink. You know, that house is still on the lot.
00:35:50
Speaker
I went to that Cinegear or whatever it is. huh You know, and you go to the Warner Brothers lot, I guess. Yeah, yeah, yeah. No, Universal. Universal lot. And they have, you know, that house right there. Just iconic, you know.
00:36:04
Speaker
i'll take a drink. Every time there's a wide shot of the house. Oh, shit.
00:36:12
Speaker
And that house actually isn't real. It's all just... Right. It's a facade. Yeah. great Great construction on it, though. You never would know it's not a real house, you know?
00:36:31
Speaker
You know, that's a credit to Hitchcock, because he you don't really know when it's a studio in the studio when it's not. Yeah.
00:36:43
Speaker
I got to imagine all of this is studio, right? Oh, yes. You know who would be a good, ah if they did another, Psycho, even though they shouldn't, but like a recast would be Andrew Garfield as Norman Bates.
00:36:56
Speaker
Oh, yeah. Huh?
00:37:02
Speaker
It's such a shame that this movie kind of ruined his career. Anthony Perkins? Mm-hmm. Because he got, what, stereotyped as Norman Bates? Not even stereotypes. He just... People were like... He couldn't separate his...
00:37:19
Speaker
Damn. See? Everything is so deliberate. I love that. What? Him like hesitating to like grab the cabin one because that's the one that he has the peephole on. Yeah.
00:37:39
Speaker
Anthony Perkins is a really good actor, huh? Yeah. He like, after this, he was in like a couple movies, but that was it. he wast then Then he just was relegated to Psycho remakes.
00:37:49
Speaker
are Yeah, that's pretty sad. Psycho sequels.
00:37:58
Speaker
I mean, he he's so good as Norman. I mean, that's the problem, right? He's so good as Norman Bates. Yeah.
00:38:11
Speaker
Bates. He said Bates. Imagine if ah Jimmy Stewart was cast.
00:38:18
Speaker
Bates Motel. How does Jimmy Stewart sound? like I can't de you do Jimmy Stewart. Well, kids. no Well, I'll wrap a lasso around that moon. Yeah. And I'll bring it right down to you. Yeah, you got it.
00:38:33
Speaker
so Bates. Say again. Jesus, this it will kill you. I'm already out of my beer.
00:38:41
Speaker
I'm going to grab my beer. You want another drink?
00:38:45
Speaker
I'm good. You need anything? No. Sandwiches and milk.
00:38:55
Speaker
Hey, that's what you like. Milk with everything. That's white people.
00:39:00
Speaker
That's what keeps us so white.
00:39:53
Speaker
She's just like, where do I hide this money?
00:39:59
Speaker
And she puts it in the newspaper.
00:40:27
Speaker
yeah
00:40:30
Speaker
Oh, you hear Mrs. Bates, take a drink.
00:40:39
Speaker
The house. That's two. I took two.
00:41:00
Speaker
Hitchcock went through so like many... like Such a ah ah campaign to not spoil. like Don't tell your friends. Don't tell people about the movie. like He didn't let people enter the... He like stop he like ah made a mandate that theater owners wouldn't let allow people in if they weren't there at the start of the film.
00:41:21
Speaker
Really? Yeah. People couldn't show up late. Could you imagine having that power? No. But I mean, that's when Hollywood was at its all-time high, right?
00:41:33
Speaker
I mean... Coming off the 50s and everything. That was when everyone was Weinstein. Like, yes, Mr. Weinstein. No one will come in, I promise.
00:41:45
Speaker
And Hitchcock's like, get me another blonde. Literally, yes. that's like He loved blonde women. The rain stopped. Janet Leigh is really beautiful, though.
00:42:05
Speaker
She beats me. and Well, there's the microphone shadow, right? Is that behind him or is that an Eve? Yeah, that's just the Eve. Because it ain't moving. Bullshit, that's the boom. no Hitchcock, you hack.
00:42:35
Speaker
The hesitation, right? We tried to do all this. Hesitate before you, so you struggle your, hurt a death.
00:43:09
Speaker
It's like Norman's so sweet, right? it's Yeah.
00:43:14
Speaker
But then you have the weird office, right? Or the parlor. Yeah. or I mean, obviously, you always... All the weird stuff. That's like us with our dead dog line and dickhead. Take a drink.
00:43:27
Speaker
Yeah.
00:43:33
Speaker
My mom beat me already.
00:43:42
Speaker
Oh, Norman talked about birds. He talks about birds a lot?
00:43:52
Speaker
Jesus, Norman.
00:43:57
Speaker
ah ah Because Norman is ah loosely based on Ed Gein. Oh, yeah, that's right. So that's what the the taxidermy term comes from. Oh,
00:44:09
Speaker
he talks about taxidermy. Oh, shit.
00:44:14
Speaker
Oh, birds. This scene is going to kill us.
00:44:23
Speaker
Norman's a pretty sweet guy, right? Yeah.
00:44:29
Speaker
He's kind of a tragic character. What is she doing? She's just ripping the bread apart. i don't know how people used to eat Meg that bad. is She's eating like a bird.
00:44:41
Speaker
Yeah.
00:44:50
Speaker
just eating a plain piece of bread. That is some old timey shit. I remember the depression. All you had was bread.
00:45:06
Speaker
He is Andrew Garfield. du That's a good call, right?
00:45:56
Speaker
then he looks at his mom. Fuck, dude. God damn it.
00:46:09
Speaker
Yeah, right there, right?
00:46:14
Speaker
And the bitch ain't drinking her milk.
00:46:25
Speaker
Anthony Perkins was good. What happened? you think happened Why does his son suck so much?
00:46:32
Speaker
The apple fell way too far from the tree. I'm kidding. All's good. All's good, Osgood.
00:46:47
Speaker
Is she just eating like butter and bread? No.
00:47:05
Speaker
Oh, there's like a piece of baloney on there or something. I like how that's what's catching your eye instead of like the cinematography and the camera angles where he's doing this with the owl peering down on him. know, right? It's like the watchful eye of mom is just right up there in the corner. She's like, man, that toe's got baloney, don't it?
00:47:25
Speaker
What can I say, buddy? I notice what I notice.
00:48:09
Speaker
that's I hope so. and
00:48:17
Speaker
I'd be like, take me with you.
00:48:42
Speaker
this setup is like so important too. Yeah.
00:48:49
Speaker
Honestly, it's probably one of the most pivotal scenes in the whole film. Yeah. Right. Mm hmm.
00:49:10
Speaker
Why'd you go there, Norman? What about a retirement home? I know, right? Rest home.
00:49:19
Speaker
See the angle? the angle changed. His intensity changed. Yeah. tried to do that with Dickhead. Dickhead drink. Right? With ah Richard? Yeah.
00:49:44
Speaker
Oh, bird. hu
00:50:07
Speaker
I love how the shadows in this movie, everything is lit so fucking good, dude. I mean, it's a masterpiece. It really is.
00:50:34
Speaker
on Don't we all? One
00:50:38
Speaker
of the most classic lines ever, right? Right, yeah.
00:50:44
Speaker
Just still that tagline for dickhead. Well, for scream, remember? Yeah. We all go a little mad sometimes. Yeah. Just one time can be enough.
00:51:20
Speaker
Oh, so she does regret what she's doing in this. Yeah.
00:51:35
Speaker
Yeah, I think Perkins is really good. Yeah, he is.
00:51:43
Speaker
That's not what you wrote on the ah sign-in sheet. He's great because he has... he's just not this intimidating figure, right? But then him and as, as an actor, he's just able to Mm-hmm.
00:52:12
Speaker
Yeah, I mean, one of the best elements to this film that really doesn't... I never hear anyone talk about, but I guess they do indirectly, is just the casting, right? Yeah. Because Janet Leigh, you just fall in love with her. You want her to be okay. You want her to... Right,
00:52:35
Speaker
if you'd never seen this and you had no idea, it's like, what do you think? And then you then this happens. And then this happens.
00:52:47
Speaker
Right into the bathroom too, right? Right into the bathroom. What a beautiful shot. Which one? The eye. ah Looking in the peephole.
00:53:02
Speaker
And then you got the peephole shot. i he even saw her get nude, that pervert.
00:53:09
Speaker
See, if this was us, we'd have him like five minutes of furiously masturbating. Unfortunately, fortunately yes yeah There's a difference between us and Hitchcock. We're a little more naturalistic.
00:53:23
Speaker
Well, aren't they? ah you know our we yeah We address the sexual sadism of our character. You gotta.
00:53:33
Speaker
No, white shot of the house. Ah, shit.
00:53:56
Speaker
And then this is all done in the studio. Yeah, that set design is beautiful. I mean, this is like for being out in the sticks, man. They got a fucking nice ass house, right? Mm-hmm.
00:54:22
Speaker
Yeah, you know... Damn, bitch, you can't mind a second. You got to write that. Well, we know she ain't good at math. ah You know... i mean, people say Vertigo was his best, but I don't know, man. Every time I see Psycho, it's just like... It's just tight.
00:54:39
Speaker
It is. It's just tight all the way through. That's what I love about this movie. There's not an ounce of fat on this film. Yeah, it's just a tight movie. Yeah. That pushes the boundaries. There's the infamous toilet shot.
00:54:53
Speaker
Oh, that wasn't that like the first time a toilet was seen flushed? First time a toilet was ever seen, period, in a feature film.
00:55:03
Speaker
And then, of course, the shower scene, right? Yes. We tried so hard to do this. And I mean, if anyone... If people had VHS's back in the day, so many of those tape recorders would have been stretched thin and all grainy right here.
00:55:17
Speaker
Trying to see. it Because, you know, people say they claim they see a a nipple. They claim they see and mu the knife going in. Yeah. But there is no nudity. No knife goes into the skin. There's one shot where the knife touches her belly.
00:55:32
Speaker
And then that's the beauty of the directing, right? Because it's just so suggestive and it seems far more brutal.
00:55:41
Speaker
And then this, right? Like, whoa, what the fuck? It's scary. And there's no music. Like, you would think in a modern film. Well, this whole movie has had this music throughout. And then now. Take a drink.
00:55:57
Speaker
Or finish your drink. It's a shower scene.
00:56:09
Speaker
Oh, there's a belly shot.
00:56:13
Speaker
Oh.
00:56:18
Speaker
That's one thing I love, too. He just leaves. Yeah.
00:56:26
Speaker
But yeah, he stabbed her like 40 times.
00:56:34
Speaker
This is how we should have done that shot. with we should We should have definitely ripped off Psycho. A little bit more, yeah. We should all least... And then when she did this part, he could have dragged her out.
00:56:46
Speaker
Yeah.
00:56:49
Speaker
I mean, I could see why people say they see nudity.
00:56:54
Speaker
But yeah, that's the infamous shower scene. And it is perfect, right? And it's so quick. Such a short scene, you know? Yeah. And then that... I know I try to steal that.
00:57:06
Speaker
Oh, I've stolen that.
00:57:11
Speaker
Right into the eye. Beautiful match cut. Yeah.
00:57:21
Speaker
And then, of course, the camera's rotating in a spiral, too. Yeah, just like the drain. Beautiful.
00:57:31
Speaker
Yeah. Damn, man. Right, and Janet Leigh's got to hold that. Oh, I saw her eye move. Yeah, it's not perfect. It's cocky, hack. Oh, I saw it again.
00:57:48
Speaker
Damn, dude. Oh, fake the cut there. Could you imagine seeing this in theaters like for the first time? I love that too. Look, she's like it's like her eyes like looking at the money that... She's going to heaven.
00:58:07
Speaker
to Take a drink. White shot of the house. Eh, it's not a white shot, but... Close enough.
00:58:14
Speaker
It's white-ish.
00:58:18
Speaker
Oh, there's some music.
00:58:28
Speaker
thats This score so fucking brilliant. The birds. The birds.
00:58:40
Speaker
Yeah, I say Psycho's Hitchcock's best film. It's only because you're watching. It's the best. Fitchcock's interesting because it's like his best film is the one you're watching. No, because I don't i wasn't that crazy about Vertigo.
00:58:52
Speaker
Really? if anything, second for me would be like Rear Window. Man, Rebecca is really good too. um I'm not sure if I've seen Rebecca. I probably have.
00:59:03
Speaker
I mean, he has so many. He's got like a hundred right? He's like Curacao, yeah. He's like Curacao where it's like, he's got some fucking, like, Curacao's got like nine masterpieces. Like, Hitchcock's got like a couple masterpieces. For sure, for sure.
00:59:16
Speaker
Like, most most directors, right? Like, the only only person that probably has them topped is like Kubrick, who has like eight masterpieces.
00:59:25
Speaker
You're just a Kubrick fanboy. i am, dude. What can I say? Like,
00:59:31
Speaker
Just wait till we see Tarkovsky. i know. i
00:59:36
Speaker
For a second, I thought he had a gun. Just goes like...
00:59:43
Speaker
Now she's really dead, mother. Gotta clean up after her.
00:59:49
Speaker
Right? And like, you're so...
00:59:54
Speaker
And then Norman's just this meek man, right? Yeah. All of this...
01:00:02
Speaker
Like, he's just too weak to stop his mom.
01:00:21
Speaker
Be like, damn, these shower curtains ain't free. Yeah.
01:00:31
Speaker
like, you know, right? It's like, this motherfucker's done this before. Yeah, right. Knowing how to clean it up.
01:00:42
Speaker
And just the leg behind the door. Yeah. So you don't have to show the body. Well, that's her arm. Oh, it's her arm. The microphone is blocking. Oh, yeah. I was looking like this.
01:01:00
Speaker
That would have been heart a hard thing to shoot without accidentally catching Unity.
01:01:10
Speaker
would probably be the hardest thing to do in all of this, right? Yeah. yeah God damn, dude.
01:01:22
Speaker
like Is that the blood from Dragoner or the blood from his... It was already on his hands. Yeah.
01:01:43
Speaker
Well, if you're going to kill someone, the shower is a good spot, right? It's ah easy to clean it easier to clean. Yeah.
01:02:01
Speaker
And then there's just this midway switch, right? And you don't even realize it. Yeah. Right? You're just going along with it's like what you're being shown. Like, we just we just switched films here.
01:02:13
Speaker
We just switched protagonists here. oh We did, yes. It's dickhead, baby. Where's the...
01:02:49
Speaker
Just the blocking, right? has to How he has to like step over the body, like everything.
01:02:57
Speaker
Yeah.
01:03:04
Speaker
Like, if this was a short film, it just like ended here. Yeah. I'd be like, damn, dude, this is what we have to compete against with short films. Yeah. Because you're right, it does become like a new movie.
01:03:19
Speaker
The crime thriller becomes this like mystery. Yeah.
01:03:28
Speaker
I mean, i don't I really don't even know how you would classify this film, right? Because it really sos jumps genres.
01:03:41
Speaker
Always an eye on that continuity. The ah hood was so wet from the rain. Oh, yeah.
01:03:52
Speaker
We never would have done that. Oh, fuck no. we've been like We're out of water. we ran out of water with the shower scene.
01:04:04
Speaker
She's dead wrapped in plastic. Twin Peaks. two
01:04:11
Speaker
I mean, and when it says we're supposed drink when everyone gets in a car, does this him putting her body in the car count? I think that counts. All right, then take a drink. That's a like alcoholic speak, huh? Yeah, sure, that counts.
01:04:23
Speaker
like how Norm is looking around like, motherfucker, I hate no one around.
01:04:36
Speaker
There's something also so interesting if you On the rewatch. Because if you look at it like Norman is doing this intentionally. It's like he's just so disgusting and like wrong as a person. Yeah.
01:04:57
Speaker
It's like you have to really buy. ah There's two. You could be of two minds. One he's actually going through like a psychotic disassociative like episode. That's how i always took it.
01:05:09
Speaker
Or it's like no he's just a. twisted. He just fucking psycho. He's just a twisted psycho, right? Just psycho.
01:05:20
Speaker
Look, it makes a cross. The shadow of the mop on the wall. Goddamn Hitchcock. he You know, he always did a lot of reflections in the mirror, man. Dickhead.
01:05:31
Speaker
yes And then the money. Oh, what a beautiful little dude. That was like what? Like four frames. Yeah. Beautiful. lament Right. So four frames. Just enough to like, even though I bet that was eight frames.
01:05:46
Speaker
What did he go back to the playback on that? Oh shit. People are around. That's when he's like, what the fuck? Never in my life. Never my life. haven't seen anyone here.
01:06:01
Speaker
Imagine you just murdered somebody and then like someone drives by. Are you fucking kidding me? The one night? I know, right?
01:06:12
Speaker
Yeah, see, there's the water all over the hood around the trunk. Yeah.
01:06:18
Speaker
Yeah, he probably had a script director for this film. There it is The money.
01:06:29
Speaker
That's interesting, right? Gave me those little nuggets, but then that. And then he just never realizes there's money in there, right? Yeah. And there's like... And that's kind of the whole point. Like, no one got the money. Yeah, you know, if this was... a What's that fucker's name?
01:06:49
Speaker
Knives Out? This is Rian Johnson. Oh, shit. He would have got the money. normal it would have been like Norman in Vegas. Yeah.
01:07:01
Speaker
No fucking bitches, dude. you know you know and got
01:07:16
Speaker
He's like, oh, I thought had he yet pushed it. to There's the crickets, buddy. Always got to have your crickets.
Plot Unraveling and Suspense Techniques
01:07:22
Speaker
That's it's the only way you can tell someone that's nighttime. i mean, it could practically be like afternoon.
01:07:50
Speaker
I mean, that's a lot, right? Throwing a whole car in a pond. Because this isn't shot at night, right? This isn't a studio? ah Yeah, it's probably a studio. Look at the sky behind him, right? like Also the vegetation don't look real.
01:08:07
Speaker
He's like, oh, fuck.
01:08:10
Speaker
i Are you fucking kidding Are you fucking kidding me right now? Oh, thank God. Okay, I knew it was deep enough. It did just rain after all.
01:08:24
Speaker
That's what sounds like. The sound design part is so good. yeah yeah
01:08:30
Speaker
The black ink. It's like inky. yeah
01:08:35
Speaker
Sam Loomis. Hey. It's in Halloween.
01:08:42
Speaker
Is that what that? No. Yeah, his name is ah Dr. Loomis. dr loomis Is that a nod? Yeah. For real? Absolutely. Are you just making that up? No. No for sure. And it's also a reference to Scream. They reference Loomis.
01:08:59
Speaker
Well, Scream. Who knows what it referencing half the time.
01:09:10
Speaker
That's cool.
01:09:13
Speaker
Well, at least they were nodding to the like first slasher. course.
01:09:26
Speaker
I told you, Michael! He's hell itself! That'd be a cool little cameo, huh?
01:09:37
Speaker
Hey, baby, I don't know. but She's played by Rita... Hayworth? No. ah Hitchcock tried to bang her, and she was supposed to be Marion.
01:09:51
Speaker
And when she was like, hey I'm going to bang you. For reals? Yeah. He banged his actresses? I didn't know Hitchcock did that. Oh, yeah.
01:10:03
Speaker
Really? That's why... What's her name? Didn't Grace Kelly stop doing movies with him and Tippi Hedren? So he would make them in put them in these big films and then be like afterwards, like, really? oh wow. I didn't know that about him.
01:10:21
Speaker
And his like wife was kind of in on it, too. Wow. I had no idea. Vera Miles. Dang.
01:10:32
Speaker
Hitchcock got no shame, huh? Well, what about the men he cat i cast multiple times? Did he bang them? No, of course not. banged Jimmy Stewart?
01:10:43
Speaker
Oh, Hitchcock. Hitchcock. You cocked me. You cocked me, Hitchcock.
01:11:00
Speaker
I like that he's just like some loser that works at Lowell's. Just works at Home Depot.
01:11:12
Speaker
Right. The private investigator looking for the money. yeah The Bublowski. Armagast is our Bublowski.
01:11:25
Speaker
I never realized she was going to just take the money back. I i forgot that part. It's little more tragic to her character, right? It's that last little bit of tragic because it's like she's coming... Because she's not a bad person. She just... Well, she was never going to really run away with the money.
01:11:41
Speaker
She was going to run away with him, but then it was just like, well, we can run away and have like a nest egg. Yeah. She was never going to run away with the money. Yes, she was.
01:11:52
Speaker
Well, she didn't know about the money until... Norman convinced her like, oh yeah, maybe I should just return this shit. Right. That conversation can be seen so differently. Like we all go a little mad sometimes and she's thinking about her and what she's doing. stole money. I did dumb shit. And he's like, wait, I murdered another bitch. killed another They got it right. That swamp's getting full.
01:12:16
Speaker
lot of cars in there. Call it Car Lake. Yeah.
01:12:23
Speaker
this is like a nice This is like a nice little reset too. And what are these called where shows just like a bunch of different... For the audience. Because I knew.
01:12:35
Speaker
He's eating candy corn with spelled with K's. What a Nazi. Fucking Nazis.
01:12:46
Speaker
Like... it and right, it kind of shows you like... it it earns the film earns the fact that they found her because of the montage yeah because without the montage it's like oh he just showed up here and ah yeah like no one knew where she was gonna be yeah
01:13:07
Speaker
oh and then he yeah
01:13:30
Speaker
so That was a good delivery. It's beautiful. He's so goddamn good. like Anthony Perkins doesn't get enough credit.
01:13:51
Speaker
Abregoss. That's a name. That's the last shit you want to hear. i know, right? Sorry, bitch. The girl you just murdered.
01:14:05
Speaker
and No, I'm not the police.
01:14:34
Speaker
Does she say her real name? Yeah. When she... She slips. Yeah. And then then he looks at the the sign-in sheet. But she tells him her real name at the end of that conversation. That's interesting.
01:15:04
Speaker
Right? That's such like a dick dick dick detective move. You catch him up on everything. Yeah. Catch you s slipping.
01:15:14
Speaker
They did that a lot in The Wire. Yeah. That's just smart writing because it's real, right? that's really they how That's how they trip you up. Yeah. Ask you the same thing over and over in different ways.
01:15:31
Speaker
looking decently what are you chewing on there dude jesus christ but that that shot jesus huh that's such an intense shot that's a little too much it's maybe this ain't as good as vertigo after all is he a god damn giraffe
01:16:14
Speaker
He's just like, I got you, bitch. Yeah, he's already slipping up. I got you. He slipped up quick, right? He's bad, yeah.
01:16:30
Speaker
Oh my God, dude. The acting is so good. Yeah. say oh This is the difference between like a masterpiece or an amazing film and dickhead.
01:16:42
Speaker
deca
01:16:45
Speaker
We only like... That's the difference. we We have like a glancing blow of this, right? like oh Look, they lit the short side of the face, buddy. Oh, there you go. Well, not on Norman.
01:17:02
Speaker
No, that's the short side. Shadow side is short side. So see, that's short. Yeah.
01:17:15
Speaker
No one would ever light like that anymore. No. It's too extreme. Yeah. It's like... Like the shadows alone. You're not going to see half my face? i I work out and then throw up every day so you can see my whole face. Where's my close-up? You better show my whole face, cacksucker.
01:17:35
Speaker
See, this is a great use of close-up because it's like they're interrogating each other. Well, I thought Dighead had a great use of close-up. Take a drink. Ugh.
01:17:48
Speaker
That whole movie's an interrogation of us, why we did it. That's good.
01:18:15
Speaker
You know, Sidney Lumet used, uh, Anthony Perkins. Oh, yeah? He was in Murder on the Order Express. He Yeah, he has a small role.
01:18:30
Speaker
trying to remember. Oh, yeah, you got it. Did I see Murder on the Order Express? I know I saw the Krennic Branagh one. I saw the new one. Or the old, the original.
01:18:41
Speaker
It was Sean Connery? Yeah, I just don't remember. Oh, shit. Why shot of the house? Fuck.
01:18:54
Speaker
I love this movie so much. to
01:19:07
Speaker
So she's a nobody.
01:19:42
Speaker
Oh. Uh-oh. Fuck, dude. I know. He keeps slipping up.
01:20:06
Speaker
Even the dick is really good. I don't remember him being this this good. No, Arbogast is great. Yeah.
01:20:14
Speaker
Not just some... I don't know, just some side i mean he's character, right? He's hunting down... mean, he's side character, but he's not just... I mean, nearly half a million dollars in today's money. He's like hunting down, right? Yeah.
01:20:35
Speaker
And there's Norman. He's like, ah fuck. I fucked that one up, huh? Or is he proud? He's like, no, I got him. What a dummy. Right. I talked about it. I fooled that guy.
01:20:46
Speaker
I did it, mama. I did it, mama. I Also, dude, there's just so much paid attention to like wardrobe. like Norman wearing black. like He's wearing all black. and That's juxtaposed against like the the linens and Arbogast.
01:21:07
Speaker
And you need this scene so that it will lead into... yeah Lila Crane.
01:21:24
Speaker
Oh, he said Bates. Oh, shit.
01:21:29
Speaker
Why would he even tell him the right number? Stupid Norman. He saw the book. That's why I never write shit down.
01:21:41
Speaker
John Hupdike. Steven, were you at work today? Was I? You tell me.
01:22:13
Speaker
That's why you always got lower your up. You know, I've been thinking about this a little bit where it's kind of, this is why it's important to watch old movies like this is because like, for the most part, like you're not reinventing the visual language of film.
01:22:29
Speaker
A lot of these shots... There's shot the house. Oh, shit. like A lot of these shots... like shots like Cinematography has been used for thousands and thousands and thousands of films. who It's more like you need to learn the language of the visual language. Yeah.
01:22:47
Speaker
And it's not like... It's like you know what people are like... What you're communicating with these shots. Right. It's like you're not copying the shots. you're like you You know the language. You're speaking the language. Yeah. Yeah. No, you're right. You're right. and And I'll say for our film, take a drink. ah We didn't.
01:23:02
Speaker
Or at least I didn't.
01:23:06
Speaker
Like utilizing this shot to then bring in the investigator. Right. The house. Take a drink.
01:23:15
Speaker
Like, I will say for our film, it was when I was doing the cinematography, it was just like, well, we need a shot.
01:23:28
Speaker
But I think with how we've reframed things in post, we added we added deliberation, our intention behind everything.
01:23:39
Speaker
Yeah. Oh, this is interesting. I don't think I remember this. So can a dick break and enter? Because I'd be like, yo, man, you're breaking and entering by going through my safe here.
01:23:52
Speaker
Illegal? I mean... Right? That's illegal. The thing is, is that... So, like, a cop couldn't do it because the evidence wouldn't be able to be used in court. But a dick isn't trying to... He's not trying to, like, charge Norman. Build a case and take it to a DA. Exactly. He's just, like, trying to figure out what happened.
01:24:09
Speaker
So they have more leeway, then? Yeah. I mean, not that we have any idea, but... No, I do. I kind of have an idea on this stuff. Oh, yeah? Yeah. I've seen a hundred noir films, Steven. Not even noirs. I'm just saying, just like, I've seen a lot of cop shows. Yeah.
01:24:26
Speaker
right like I've seen Doug the bounty hunter like and he did it all. like A cop can't just walk into your house and like if you and grab a gun off your desk that you used to murder somebody. They have to obtain a search warrant yeah to make it admissible admissible in court. I mean, that's the whole point of all that stuff, right? Yeah. So it's admissible.
01:24:43
Speaker
Yeah. And that's what admissible means. I don't even know what that word means. and I hear it all the time. Yeah. Admissible just means that you can add it. Yeah.
01:24:53
Speaker
Oh, here's one of the greatest shots, I think. This is the great one of the greatest sense of one of the greatest suspense setups is right here. right. Let's see.
01:25:04
Speaker
Hitchcock said this was the hardest shot of the whole movie. Well, can imagine. It's a weird shot. A guy almost died. One of the grips almost died. you'll have to tell me after.
01:25:16
Speaker
He's like literally hanging from the rafters holding the camera. Interesting. Interesting. Yeah, because like you this was all this shot. Yeah. And then the downward.
01:25:28
Speaker
This is just a dude strapped to a holding the camera strapped to the ceiling. That specific shot or where he's going down the stairs? Where he's going up the stairs. That's the hardest shot. Yeah. Wow.
01:25:40
Speaker
It's a pretty ah weird shot. This, right? Oh, shit. Oh, there's a knife.
01:25:52
Speaker
Again, dickhead. Jennifer falling down the stairs.
01:26:00
Speaker
Someone's...
01:26:03
Speaker
It's a beautiful way that this movie resets itself after every murder. Yeah.
01:26:11
Speaker
And that's nice for the audience because you're like, what the fuck just happened? And then there's this calmness. There's calm tension. Which is, I guess, an oxymoron.
01:26:22
Speaker
And then it kind of becomes like a new movie again. Yeah, it resets itself. The reset. The reset. Dude, Dickhead and Psycho, actually. Right? If we ever go before an audience and talk about it.
01:26:36
Speaker
Have you ever seen the movie Psycho? yeah
01:26:41
Speaker
You're Miles, dude. ah Imagine just like, I just want to be an actress and I don't want to suck Alfred Hitchcock's dick.
01:26:53
Speaker
Damn, that's i asked crazy that he did that kind of shit. I love this. Yeah, that's a beautiful cut. Movies don't let shit like this happen anymore. No, it's too dark. I love it.
01:27:04
Speaker
I love Like that? You don't even see her expression really. But then it grows into the frame. And then that wind, where does that wind come in from? Magic of cinema. And then Norman looking at it into what?
01:27:17
Speaker
Mud? The swamp. Looking at mud?
01:27:21
Speaker
Shit, I think that gentleman jacks enemies.
01:27:26
Speaker
Arbogast sound. That sounds like a wizard's name. It is a wizard's name. He's probably a fucking blue-black wizard. Blue-black wizard. What the fuck?
01:27:38
Speaker
There's another car in the pod on it. Norm is like, fuck, man, this boss is filling up quick. But look, now that we know that he's like assisting, he's only wearing a black coat before he was lit, like dressed more brightly. Yeah. Now we know Norman's, he's in at least an accomplice. Like, look at this.
01:28:00
Speaker
Just completely silhouetted. Yeah, this is a bitchin' shot.
01:28:12
Speaker
Shit, sounds like Rod Sterling. why Sick old lady in the Twilight Zone. That's a great series.
01:28:25
Speaker
and my like Look, they're just completely in the dark. You know, I would say I think the Twilight Zone is the greatest TV show. It's pretty good. I watch it a lot. I mean, I still watch it, and look how old it is. you know It's one of the ones I put on before bed, and then I'll wake up at like 3 a.m., and I'll watch a random episode.
01:28:49
Speaker
Except at the beginning.
01:28:55
Speaker
It's the sheriff. They're like, Sam, where's your wife? ah Let's not worry about that, officer.
01:29:02
Speaker
There was a big thing in the book about them, but I can't remember because it's drunk. About the husband and wife sheriff couple. Like, I think they're like married in real life or something. ah okay.
01:29:27
Speaker
Yeah, that's like a good 10, 12 hour drive.
01:29:31
Speaker
Fairvale's a made-up place, though, right? I don't know. But shut Bakersfield to Phoenix? um Oh, yeah, Bakersfield. Yeah, that's got to be like 14, 15 hours. No!
01:29:44
Speaker
Phoenix? Phoenix is like seven hours from... Six hours, I think. It's a six-hour drive. From LA? Yeah. No, from where we are. Six to seven hours? Seven.
01:29:55
Speaker
And then Bakersfield is what, like two hours? Three hours? Yeah. Maybe a 10 hour drive? Maybe three. No, probably two.
01:30:09
Speaker
Oh, they talked about the money. Oh, shit.
01:30:20
Speaker
I don't know, officer.
01:31:06
Speaker
We are from Phoenix. We don't remember shit.
01:31:11
Speaker
Enlighten us.
01:31:18
Speaker
Base motel. Take a drink.
01:31:44
Speaker
Arbolgast.
01:31:58
Speaker
Look at that. Continuity error.
01:32:04
Speaker
In the other shot, she's standing between the two lights, but here she's standing behind or in front of... a
01:32:13
Speaker
ah The guy whose name I can't remember.
01:33:16
Speaker
Who's in her grave?
01:33:25
Speaker
It's so great how the movie kind of unravels. what do you mean? So they're like, the sheriff and the wife are like, yeah, we buried Mrs. Bates like years ago.
01:33:36
Speaker
the fuck did you see in the window? and they're like, he's been saying his fucking mom's there, right? Oh, okay. And so you're it's starting to like clue you in a little bit. Oh, I never even caught that when I first... Huh.
01:33:54
Speaker
And then there was a continuity error, so Hitchcock's a hack fraud. Fucking hack. Look at his ass shake as he walks up the stairs. like Was he a dancer? He's got a little little sway there.
01:34:09
Speaker
Norman Bates, Mrs. Bates is talking. Take a drink.
01:34:17
Speaker
So now if you're an audience member, you know something is up. Well, yeah, since. You heard she's died. Since the first act too, though.
01:34:28
Speaker
But you know that that the mom is dead. I don't think so. Yeah, the cop, the sheriff says. No, I know, but I don't think people, i don't think you catch that until the very end.
01:34:43
Speaker
Look at this shot.
01:34:46
Speaker
Yeah, it's definitely a studio. Good luck. Could you imagine pulling that shot off? With the crane, yeah.
01:34:55
Speaker
This is a Steven shot. Bird's eye. Look it. Hitchcock used it.
01:35:03
Speaker
All done off camera.
01:35:11
Speaker
Literally put me down. Down in the basement.
01:35:32
Speaker
That's the thing. I was watching Starship Troopers this morning. and Oh, really? And I was thinking, like oh my god, this is like what Trump is doing.
01:35:44
Speaker
Or not Trump, Musk. Musk wants Starship Troopers to be a reality. Oh, that's scary. Essentially, global domination, everything is like only certain people. The right people are citizens. Yeah. Because I thought it was interesting because I was like...
01:36:01
Speaker
It's not necessarily like that that' they're racist. They just don't like poor people. They're classists. Exactly. like ah Because like a black woman becomes like the new air marshal and yeah in Starship Troopers. Yeah.
01:36:20
Speaker
And I was like, oh I mean, there's some DEI right there. But at the same time, I'm like, you know... Racism is so passe. It's so 1940.
01:36:34
Speaker
We got to figure out something new. Now we just got to we got to get all the dumb people out of here.
01:36:56
Speaker
I love it. That scene is just, rock it's so tight, right? This is, what oh, house. This is what we're doing. House-oo.
01:37:05
Speaker
Talking about masterpieces. Is House-oo on the list? I guess that's a no. It's not? No. Oh, fuck. That's too bad. No House-oo.
01:37:23
Speaker
I like how Norman is just so bad at all this, right?
01:37:40
Speaker
And Norman never thinks like, man, I've had more visitors in the past ever. 90% business. 10% ass. I was going to say 20% fun. 10% pleasure.
01:38:02
Speaker
ten percent pleasure
01:38:15
Speaker
I'd like to stay in ah room number one, please.
01:38:22
Speaker
Fear Miles is kind of hot, but like 50s hair is so ugly. You didn't like the styles? but Like nasty fucking curls and pumps that the women did. but Disgusting.
01:38:36
Speaker
Although Grace Kelly. Rearindo.
01:38:42
Speaker
Mama. Princess Grace Kelly.
01:38:47
Speaker
i was I listened to the Rob Lowe book. ah There's a scene. i think I might have told you. ah Rob Lowe meets... He goes to some like god banquet like for like donating charity. Charity banquet.
01:39:01
Speaker
yeah And all like the old movie stars are there. And they're talking about how Rob Lowe fucked all their daughters.
01:39:10
Speaker
Damn. He's a handsome man. Rob Lowe.
01:39:18
Speaker
as a Because he dated Grace Kelly's daughter. Oh, he did? Mm-hmm.
01:39:27
Speaker
And ah he dated Cary Grant's daughter and he dated... Really? yeah Crossing the names off the list, huh?
01:39:53
Speaker
Oh, they're talking about the money. Oh, shit.
01:40:29
Speaker
see it and And then there's like almost like another perspective switch. It's like, yes, we have new protagonists, but also now Norman is being hunted. Yeah.
01:40:41
Speaker
It's like he's fucked up one too many times. Yeah.
01:40:47
Speaker
That'd be scary though, right? Like no one else is at this motel.
01:40:54
Speaker
And everyone who visits this motel goes missing.
01:40:59
Speaker
Dude, when I start going out, I i need to start staying in motels like this just to see what happens. You know, shit. And Tom was never seen again. The lonely guy. Hey, I got some peanut butter jelly sandwiches. ah You want to hang out with me? You want to have dinner? Okay. You ever heard of a game called Magic the Gathering?
01:41:17
Speaker
Yes, am. All right, let's draft. Let's draft Norman. Yeah. We could be friends, right, Norman? ah Hey, man, I'm out of gems. How much was in that bitch's wallet?
01:41:32
Speaker
Come on, Norman, I got a draft again. Come on, just a hundred more.
01:41:58
Speaker
What?
01:42:01
Speaker
Why did you pull that out of the toilet? With her bare hands? To the side of the toilet.
01:42:14
Speaker
That's where, that's a little bit of a stretch. Finding that little number.
01:42:29
Speaker
Cause so you're supposed to kind of build their relationship now. Yeah.
01:42:51
Speaker
What is she going to walk?
01:43:03
Speaker
Yeah.
01:43:05
Speaker
Yes, actually. Well, there's like a phone booth down the street or just like right there. Oh, shit.
01:43:28
Speaker
Oh, that was a nice little nod.
01:43:32
Speaker
up Oh, that's a light of the house.
Legacy and Genre Impact
01:43:37
Speaker
Hitchcock was like, we built this from the ground up. We're going to use it as much as we can.
01:43:44
Speaker
Two. I guess I can. Three. Oh, that ain't a light. Four. We're getting drunk. Me too.
01:43:56
Speaker
I'm already pretty drunk.
01:44:00
Speaker
I'm just like, I'm in love, dude. God damn. This is like why movies were made.
01:44:09
Speaker
Yeah, Psycho, I mean, it is lightning in a bottle. i always think about, like, know you know, I like to look for that hidden gem among the trash, but it's like, why try to, like, fuck around when Psycho exists?
01:44:23
Speaker
Or why you try to watch another movie when Alien exists, right? You want to watch sci-fi horror? Watch Alien. It's done perfect. It's never been, it's, like, not fucking wrong. There's nothing wrong about it. You know, a lot of the gems are in the trash.
01:44:37
Speaker
You know? Yeah. But every now and then you find like a hidden gem like Ricky O or something where you' you're like, wow, this is fucking great.
01:45:03
Speaker
No, I got mother. My mamama mama, mama, mama.
01:45:17
Speaker
You know, the score's not used as much as I thought it was. I thought we would... I mean, we're drunk from other stuff, but I thought it was going to be that... Well, it's used a lot more in the first act.
01:45:29
Speaker
Yeah. But again, after the first act, like we transition. Exactly. Now we're back at like a different kind of movie. Yeah. It's like a mystery now. You're from the heist to the slasher to now the mystery.
01:45:54
Speaker
It's kind of like Le Diabolique. Yeah. Right? I mean, but Le Diabolique never really shifts in genre. I mean, it's always pretty much what it is.
01:46:07
Speaker
i It's always playing with reflections. Yeah. Take a drink.
01:46:18
Speaker
damn, was that an imprint in the bed? Yeah. Shit, man. I mean, I've had my mattress for like 20 years. It don't look like that. you just didn't leave a corpse in there, did you? Wow.
01:46:49
Speaker
back to her looking through the house for mother
01:46:58
Speaker
they didn't let ver miles see the body oh really until the until she actually turns around and i i kind of agree there's like a thing where it's like uh
01:47:15
Speaker
If you can get a genuine, honest reaction, it's always going to be the best take. Well, I think one of the most famous is Alien. Right. Yeah. Right.
01:47:29
Speaker
The chestburster. Yeah. It's like they knew it was going to happen, but they didn't know like when or how. Yeah. and This book.
01:48:10
Speaker
Oh, they talked about the money. I know. Be like, $40,000? Where? Who? What are you talking about? I
01:48:32
Speaker
ah like how he can't restrain Norman, the most scrawny man ever, right?
01:48:40
Speaker
That little stick figure's squirrely.
01:48:45
Speaker
i know. Oh, so she goes down there to hide. That's nice. at that shot, dude. Jesus, that shot is so good. yeah Lighting.
01:48:57
Speaker
Composition. Wait a minute. Beautiful, beautiful film. so So they could have done color, but they chose black and white? Yeah. And why was that?
01:49:09
Speaker
Because black and white is cheaper. That was strictly it just to because they they didn't get enough funding. Right. It was a cost fuck saving. i mean, and the reality is studio didn't want to back a movie about like a transsexual murderer. and Yeah.
01:49:25
Speaker
Back then. Yeah. Drag queen.
01:49:32
Speaker
Oh, they said baits. Oh, shit.
01:49:39
Speaker
you
01:49:44
Speaker
Oh, theme song.
01:49:59
Speaker
Damn, Norman can get changed fast.
01:50:08
Speaker
And you're just like, wait. Oh, of course.
01:50:15
Speaker
Damn. And here we are. We're at the end. Somewhat controversial ending. Why is that? Because everything is explained directly to the audience.
01:50:31
Speaker
The psychiatrist guy. Yeah, that's a good point.
01:50:39
Speaker
You don't need that.
01:52:26
Speaker
He's like, whoa, whoa, whoa, whoa.
01:53:17
Speaker
Yeah, I mean, this is the telling now, not the showing. There is no... But I mean, you got to give them some credit because they showed the entire time.
01:53:28
Speaker
It's just for the dum-dums who still like, what? I think the idea is kind of radical for the 1960 audience. Yeah.
01:53:40
Speaker
But I would be like, we're cutting this, Steven. Why don't we write this? We're cutting this. like Why do we shoot this at all? Such a waste.
01:53:55
Speaker
like We're not learning anything new, right? No. This is just a recap of what we saw.
01:54:04
Speaker
So that's why I don't think it's that egregious, you know?
01:54:11
Speaker
But I could see why people don't like that.
01:54:29
Speaker
Dogman. I watched that. I loved it.
01:54:35
Speaker
it's It's weird, huh? Oh, yes. Did it not remind you of The Professional? And I had no idea, and then all of a sudden i was like, Luke Bazzard, what the fuck? It reminded me of Strychnine.
01:54:51
Speaker
You might say, so to speak, that every step I take is one step closer to my death. God damn it.
01:55:01
Speaker
No, it was pretty cool. I liked it a lot, especially when the dogs start doing Home Alone. yeah always But real Home Alone. I also like how not no dog is like killed at all. No dog was harmed in this making of the film.
01:55:28
Speaker
The swamp.
01:55:31
Speaker
That's not how money works. Swamp ain't going to deposit that money.
01:55:39
Speaker
Drag the lake and you'll find the money. Yeah.
01:55:47
Speaker
That's why if we you and I were cops, it would only be $20,000. We found $700. yeah yeah we found seven hundred dollars We don't know where it went. Maybe the fish ate it.
01:56:23
Speaker
Bits. Take a drink.
01:56:30
Speaker
We never finished our drinks when we were supposed to. That's all right. We finished plenty of drinks. That's true.
01:56:59
Speaker
See, that's pretty good, though. Because that whole exposition led into that scene with Norman. So it's like, yeah, you could criticize it, but you don't get there without that.
01:57:12
Speaker
you know All right, and that's the end of Psycho. That's the end of Psycho. All right, our first time. Well, what do you rate Psycho? Psycho's a pretty solid 9 out 10. What? Yeah.
01:57:25
Speaker
That's a 10 out of 10. i um I give it minus one point. I thought I saw a boom shadow. Because that boom shadow. No, it's a 10 out of 10.
01:57:36
Speaker
It's a 10 out of 10. I mean, it's it's everything that we wish Dickhead was. It's everything. i think that's everything anyone wishes their film were, right? It's so tight. It's so well executed. So beautiful. Sorry, buddy. Oh, you're good.
01:57:51
Speaker
And like the thing that I think that shouldn't be overshadowed in a film that's covered in shadow is, um, it's, it morphs and changes so elegantly.
01:58:06
Speaker
It's seamless. It's seamless. You know, Because then it's all of a sudden you're like, oh, shit. It defies genre in a sense where it's not just a horror movie. It's not just a thriller. It's not just a crime film. It's not just a slasher. It's not just anything.
01:58:23
Speaker
Yeah. I mean, it's not a slasher really at all. I mean, it is to an extent. I mean, literally, right? They're slashing. They took slash damage. Yeah, yes. There were some slash damage taken.
01:58:36
Speaker
But, I mean... You know, the body count, there's only two people that die. Yeah, which isn't a lot. um and the It's just so good. But being a progenitor, I mean, you don't need to have a high body count. Yeah, but it's so good.
01:58:54
Speaker
And the thing is, is like...
01:58:59
Speaker
But it does so well, too, is like it's like what we were what we were saying like the whole time, right? It just shows you. It doesn't tell you. Until the end. you just at The end explains everything. And like and I think that does detract a little bit, but not enough to really hurt the film.
01:59:14
Speaker
it's There's a reason the end is there. And like, yeah, can modern audiences might be like, yeah, we get it. you know Because it's been ripped off so much because of Psycho's existence. But for the first time ever,
01:59:27
Speaker
You might be like, whoa, what the fuck just happened? i love the i what i think i One of the things I love is like it just doesn't slow down.
01:59:39
Speaker
yeah um It's a lot like Dickhead. Take a drink. I'll take a drink for that. And that the only slow moments are kind of like to like do some character building and some character establishment. And also to just kind ofment just kind of bring you down a little bit as a viewer. Yeah. Okay.
01:59:57
Speaker
I just saw some crazy... Because, you know, this film is so risque. It's just so extreme. Like... from that opening scene up until the very end, you know, where you see like Norman's face morph with his mother's and you see like a little bit of her skull yeah over his. Yeah, exactly. but i mean, it's it's pretty extreme, you know, like that shower scene, not graphic, no nudity, but it feels, it's like Texas Chainsaw Massacre. It feels way more extreme than what you're actually seeing because of just the way it's put together and cut.
02:00:33
Speaker
you know And the sound. um The sound design is great. ah every Every little aspect is great. Everything is executed as well as it can be.
02:00:44
Speaker
Yeah. For the story that's being told. Yeah. Right? And if there's any flaw or... disinterest that you could have it's that you were born in an era where this movie's been ripped off yeah so much that it's like you said it's impossible to not have an idea of the story yeah like unless you were like born like born in Plato's cave or whatever right or you've just been staring at in the cave in the shadow hey have you ever read Plato's dialogues no neither i mean dude definitely right we have it
02:01:23
Speaker
I read Plato's Cave.
02:01:28
Speaker
I ate some Plato, ah but not Plato. Yeah, you know, it's such a good movie. it It's so crazy because it just feels like it just ends.
02:01:40
Speaker
Yeah, a bit abrupt. How long is the film, Dino? Yeah, we just watched it. Yeah.
02:01:47
Speaker
Could you read the run time? I dont want to say hour 49. Yeah, it feels like it's around an hour and a half, right? What's our... We're at the two-hour mark, so it's around... it's a little less than two hours. Yeah.
02:02:01
Speaker
And then this was uncut, so... I don't know what the difference is. I couldn't... I mean, last saw Psycho over 10 years ago, but I didn't catch anything seen before. That could just be some weird Blu-ray restoration marketing bullshit.
02:02:18
Speaker
I'm sure there was... maybe a couple extra shots of the murder or something. I don't know. Yeah. Uncut. and Who wants to watch an uncut movie? You retarded.
02:02:32
Speaker
But yeah, everyone, if you're listening, watching, that was our watch along with Psycho. Yeah. like well Well, let's talk about it. Let's talk about it. Yeah, yeah, yeah.
02:02:43
Speaker
I want to say like i out there, this will be a different episode to listen to in a sense because if you're not watching along, it's there's probably just like gaps where we weren't talking. Yeah, there's a lot of gaps ah because then we're actually getting into it pretty late. And I was like, damn, we haven't talked for like 30 seconds or like a minute or minutes. that might have been a good thing. People have been like, thank God.
02:03:06
Speaker
But yeah, i wanted to like also... But yeah, we we'll talk about the movie a little more too, but man, what a great film. ah Up next is Woody Allen's Annie Hall, which I've never seen.
02:03:23
Speaker
um That'll be such a you shift. You've seen it, right? Yeah, I've seen Annie Hall. Yeah, because I was on a Woody Allen kick for a while, so I was watching few of his. Have you seen Zillig? What did you call me? Zillig. No. That's a Woody Allen film? That's a Woody Allen film.
02:03:38
Speaker
It's one of David Fincher's favorites. Oh, okay. I remember I was down i was on not downloading because that would be illegal. I was procuring. yeah we don't do any of that shit. I was ah procuring some films. We purchased all of these, goddammit. All the President's Men and Zillig were mentioned by David Fincher. and I was like, I gotta watch these. I never did.
02:04:03
Speaker
I've never seen a Woody Allen film. The only way you I've seen is Midnight in Paris. yeah Which you loved. Yeah, great movie. I'm not like Woody Allen's a rapist, so I don't like him. I mean, you know.
02:04:17
Speaker
Who in Hollywood is it? Apparently Hitchcock was. That's the thing, right? like We live in a society... You know, i mean, our president, we want to believe that people are good. And that I was thinking about this in terms of freedom.
02:04:35
Speaker
We want to believe, you know how people are like, we live in a, you know, and you the United States is free, but ah we don't really want people to be free. Not completely free. Because they'll do dumb and awful shit. Yeah.
02:04:50
Speaker
Like we need some regulation. Like regulation is important. Um, We need some law. Because then you have a bunch of Woody Allens and Polanski's and yeah you know ah Cosby's. Hitchcock's. I don't know. Why were you bringing this up? I don't know.
02:05:12
Speaker
It's just thing I was think i think about the time. Well, I was thinking how you said not everyone's good and that mirrors Norman, right? Because...
02:05:22
Speaker
Because like the psychiatrist said, there's a separation where he's like, well, Norman, yes, he killed her and no, he didn't. Because it's like, no, Norman didn't. Norman was decent.
02:05:35
Speaker
At least, except for maybe the mother and the boyfriend. But, I mean, you feel like Norman's a good person, but it's that other side of him, that mother...
02:05:47
Speaker
killing side of him that does all of these really terrible things. And he's just covering it up like a good boy would do, right? Like a good son would do for his mom is take care of her.
02:05:58
Speaker
Do you think it's possible that ah someone can be both a tragic and ah you can have a tragic character that's also evil in a sense? Yeah, dickhead.
02:06:14
Speaker
yeah Okay, I'll take a drink. You you were going for that too. But yeah, of course, I think so. i think right i mean I think people are capable of anything.
02:06:26
Speaker
I don't think anything's really out of the scope of anything someone can do um to to an extent. I mean, there's some extremes where it's like, yeah, I wouldn't do that. But I think we can understand one another far more than not understand one another.
02:06:44
Speaker
you know there's Definitely. I don't think there's that far of a stretch from brutality of people. you know like right Granted, I can't understand the toolbox murderers, those killers, but on the same hand, if someone harmed my kids, i don' I don't know if I would not like torture them ah to death.
02:07:10
Speaker
Or even something more reasonable like a soldier you know and the atrocities that happen in war. yeah i mean, you know know i'm like shit, I've never been in that kind of situation. I don't know what that might want to make me do. I don't know the bloodless blood lust I might have.
02:07:27
Speaker
you know And also, just the essentially the the mental defense to maintain any level of sanity.
02:07:38
Speaker
yeah You could argue Norman Bates to hold on to any form of Norman himself. ah He has to give in to that.
02:07:49
Speaker
Yeah. I mean, i don't think that ever excuses. like There's like a a thing where it's like you don't excuse the behavior because of the mental illness. Yeah.
02:08:00
Speaker
And I think that's where like a lot of people get and the like they get into the... like the They want to like fight over it. but you yeah they want to like They want to use it it as an excuse. like You know, like drinking.
02:08:12
Speaker
what well People want to use like drinking as an excuse to be to do bad behavior. yeah It's like, I would never have like sent her picture. That's definitely me. I never would have sent her a picture of my dick or a you know said I want to fuck if I was sober. Yeah.
02:08:26
Speaker
But I was drunk and you know and then I gave in to my inhibitions and I gave in and it's like I had no control. But it's like... but ah you you you no one put the drink in your mouth.
02:08:38
Speaker
Well, also, it's like, well, that's still your dick in the photo. and also, it's still like you committed whatever action you committed. Unfortunately. yeah um You have to deal with the consequences of repercussions. Yeah. I mean, you're a victim.
02:08:54
Speaker
Up to a point. And then it's like, well, you you still are the perpetrator of this. Yeah. So, you know, there's a responsibility that has to be had.
02:09:06
Speaker
And Norman, right? Like, it's interesting because
02:09:14
Speaker
he's not really innocent in any way. He openly murdered his I don't want to necessarily say it was his stepfather, but he poisoned his mother and her mother's lover. Is that how he did it?
02:09:27
Speaker
With strychnine. Oh, okay. And um it was ruled as a murder-suicide because everyone in the town thought Norman was this like sweet, innocent innocent dude, right? Yeah. And yeah, but when you watch the movie, it's kind of unfolded like, no...
02:09:44
Speaker
It wasn't murder-suicide. It was just murder. Norman murdered them both yeah because right like his mother showed affection towards another man yeah and had kind of blocked him out.
02:09:55
Speaker
And it's like, it's tragic. And also in regards to his father's death, right? Like another man taking that spot. his His evil nature is tragic, yeah but it's not an excuse.
02:10:09
Speaker
It's a tragic evil. I mean, I guess that's like your Greek tragedies, right? Yeah. A fall from grace. Oedipus didn't want to bang his mom.
02:10:21
Speaker
But he did.
02:10:26
Speaker
Oh, is that how that story goes? ah yeah He didn't know it was his mom. Yeah. He was just a dude that solved the riddle, you know. And he wanted some power.
02:10:37
Speaker
Yeah. So everybody, that was Psycho 1960. nineteen sixty It was the 59th film on the criterion list. Only fifty ninth I thought that was 50. 59th. Oh shit. No, 49th?
02:10:52
Speaker
Let me... ah It's been so long, huh? It's literally been like a year, like almost two years. It's been longer than that, I think. think it's been like three, four?
02:11:07
Speaker
Well, we watched Tokyo Story during COVID, right? Because we did that over Zoom. COVID was a long time ago. Can't use that as an excuse anymore. Let's see. i The list is loading.
02:11:22
Speaker
Psycho is number 49. All right. So we broke... We broke into the 40s finally. 48 will be Annie Hall. 47, It's Such a Beautiful Day. 46 will be Eraserhead.
02:11:35
Speaker
oh shit. 45, Blade Runner. Okay. ah Great movie. And then we can kind of tie that into the book if you were going to read that book. Oh, that'd be a nice, yeah. And 44, Punch Truck Love.
02:11:48
Speaker
Interesting. 43, The Third Man, a film we've both seen. 42, The Double Life of Veronique. Which is by that guy that did Three Colors.
02:11:59
Speaker
Oh, okay. ah Number 41, It's a Wonderful Life. Hey, that'll be a nice a nice, finally good family film to watch. And number 40, Chungking Express. Oh, you're going to love it.
02:12:13
Speaker
So that's the 40s. And then the thirty s Wow, the 30s are going to be good. Well, that'll be your homework for 40. We'll be Fallen Angels and then Chungking Express.
02:12:24
Speaker
So up next... and I don't know when we'll do this next, but I would like to do – not necessarily this format, but um I would definitely like to keep doing the criteria at least once a month.
02:12:36
Speaker
No, we definitely should because it's so educational. I mean, regardless if you listen to this podcast or not, if you made it this far, so who are we talking to if you haven't? But regardless of if you go off of what we're saying, um just going down that list is just very educational to – just see all these masterpiece films. I mean, I feel like I understand filmmaking and language better. And, you know, you brought up an interesting aspect to Psycho when you were talking about um how film is ah as a visual language.
02:13:14
Speaker
And you know everyone understands that. But to actually utilize that and put it in a practice of how you can communicate You know, like that scene with ah Norman and Marianne?
02:13:28
Speaker
was What was her name? Marianne Crane. Marianne? With Norman and Marianne in the ah mary parlor. Look, it's all circling. With Norman and her in the parlor, and you see like the owl looming over, and then also just the switch in the angles and kind of showing like ah power the power shifts. Right, exactly. The new angle is like a new Norman.
02:13:52
Speaker
Yeah, and how he, you know, like obviously the dialogue then changes, but the camera angles precede that and then accentuate where the dialogue is going.
02:14:06
Speaker
And, you know, utilizing camera angles in such a way to just show... And not tell. Yeah. And that's Twin Shadows podcast psycho episode.
02:14:19
Speaker
Yeah. So if you guys like this, we'll do more of this. If not, I guess we'll just do it when we fucking don't want to talk about an episode and just want to watch it together and yeah podcast.
02:14:33
Speaker
Well, buddy, have it cheers. I'll finish our we'll finish our drinks.
02:14:38
Speaker
And that's a wrap. You guys say cut. cut