78/52

78 shots. 52 cuts. The shower scene from PSYCHO.

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  • ★★★½ review by Matt Singer on Letterboxd

    Prepare to be drowned in Psycho minutia. Full review at ScreenCrush.

  • ★★★½ review by Caitlin on Letterboxd

    this was Good and the director was there which was Cool and he did a q&a afterwards and that was Nice but enough is enough. I must speak my truth. I would like to know what business Norman Bates had being that hot

  • ★★★½ review by Aaron Hendrix on Letterboxd

    It was not a time for technicolor anymore

    Alexandre O. Phillipe's reverent documentary on the iconic shower scene is certainly an interesting watch, especially if you love - or even just appreciate - Hitchcock. It doesn't necessarily say anything revolutionary about the film, but it's worth seeing if you're at all interested in the subject matter.

    Full review coming to Talk Film Society this Thursday.

    I give it a 3.5/5.

  • ★★★★ review by Ben Scanga on Letterboxd

    Hot Docs #22

    It's like that documentary that came out about random people's deeper thoughts on Stanley Kubrick's The Shining, but this time around it's critically acclaimed and mainstream filmmakers heavily analyzing the shower scene in Alfred Hitchcock's Psycho. If that sounds entertaining to you then check it out, if not then don't see it...

    There really ain't much to say about this one

  • ★★★★ review by Jason Coffman on Letterboxd

    Part of my coverage of the 2017 Fantasia Film Festival for Daily Grindhouse:

    Alfred Hitchcock’s Psycho is unquestionably one of the most influential films of the 1960s, and one of the ultimate achievements in an incredible career. But one scene in Psycho truly set it apart from anything that had come before. Hitchcock meticulously planned and shot the shower murder scene over the course of several days—the title refers to the 78 camera setups used to shoot the scene and the 52 cuts employed in the finished version–and the effect on audiences was profound. This documentary speaks to a number of filmmakers including Guillermo del Toro, Peter Bogdanovich, Danny Elfman, Bret Easton Ellis, Bob Murawski, Gary Rydstrom, Karyn Kusama, Oz Perkins, and Jamie Lee Curtis among many others. Everyone approaches their discussion of the scene from their personal experience and/or particular discipline: Elfman talks about Bernard Herrmann’s score, Murawski examines George Tomasini’s editing, Bogdanovich recounts seeing a press screening of the film just before its original release. It’s a surprisingly wide-ranging documentary for something with such narrow focus, but everyone here has great stories and insight, and it’s fun to feel like they’re all just hanging out talking about what they love.

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