- #VIGGO MORTENSEN AND ANN HESCHE IN PSYCHO 1998 CLIPS MOVIE#
- #VIGGO MORTENSEN AND ANN HESCHE IN PSYCHO 1998 CLIPS UPDATE#
There’s no way you could have filmed that. The book began with Norman and his mother talking. I felt that was like a random killing and that it wouldn’t really mean very much to the audience. In the book, you just meet her-she comes into the hotel, you don’t have any idea who she is and she gets murdered. She wants to marry her boyfriend, who needs money, and so in a moment of madness, she steals $40,000 and goes to give it to him-without even thinking. My whole point was to make “Psycho” be about a young woman who is in a desperate situation. I don’t think there’s anybody today who won’t recognize it.
#VIGGO MORTENSEN AND ANN HESCHE IN PSYCHO 1998 CLIPS MOVIE#
The suspense that the movie generated-Why was she in this room talking to this man? And why was this man’s mother so nasty to him, not allowing him to bring a woman in the house?-to me, I think, that still plays on the same nerves today. Playing on the Nerves: But not that much has changed. And I think Anne Heche will have probably a little more of the woman who decides to steal the money than Janet had. Viggo Mortensen as Sam is going to be a very different ballgame than Gavin. I think the casting will also have a big impact. But it was in the script, or he wouldn’t have been able to do it. Maybe John Gavin had something to do with that tone. Putting myself in his place, if you told me that your sister has disappeared and I loved her, I would stop being flippant damn soon. I felt he was almost being a little flippant at times. He was the only character in the movie that I wasn’t really terribly pleased with. I think he’s a little more interesting this time around. For a polish I’m getting a lot more than I got for the original screenplay.Ĭasting: I’ve made Sam a little different in the new version-a little more open. They hired me to do a polish and an update. How Salaries Change: Universal owns the script. Whether people will be surprised that Anne Heche is killed, I kind of doubt.īut a lot of young people will be seeing it for the first time-"Psycho” to them is a funny bit that is used in comics sometimes. You just didn’t go to see a movie starring Janet Leigh and get killed. But in those days, the whole star system was part of our mentality and our sensibility.
I don’t think that anybody will go to the movies today and be shocked that somebody gets killed early in the movie. That’s something that I don’t think will work today.
Janet Leigh was a big star who had been in pictures for almost 15 years at the time of “Psycho.” The whole point of casting her was because the audience would come unglued by the fact that Janet Leigh was supposedly dead 25 minutes into the movie. A mother calling her son “Boy” and asking if he has any guts doesn’t work today. I felt that some of the talk of mother-when you hear her calling him “Boy"-I felt you had to be more subtle now. And not being able to make a phone call for a dime today. And then some minor things, like increasing the amount of money that steals. , in the original movie there was some sense that being in a hotel room on your lunch hour was morally wrong. Then when we met it was clear that some things in the script would have to be changed. How Times Change: Van Sant’s intention was to shoot shot for shot and word for word. The 76-year-old writer-who has written several other films and was a creator of TV’s “The Outer Limits"-revealed that the modern-day “Psycho” (Vince Vaughn will reprise Anthony Perkins’ role as Norman Bates, while Anne Heche will try to match Janet Leigh’s Marion Crane) will have a new sensibility.
#VIGGO MORTENSEN AND ANN HESCHE IN PSYCHO 1998 CLIPS UPDATE#
But instead of talking solely about the old script, Stefano talked at length about the new one-the version that Universal had recently hired him to polish and update for Van Sant. Kitchen, a writer and script doctor, had invited Joseph Stefano, who wrote the original “Psycho” script, to speak. That’s why Jeffrey Kitchen’s screenwriting seminar last Friday night at a West Hollywood hotel was such a treat. Ever since Universal Pictures and Imagine Entertainment announced in March that Gus Van Sant would direct a modern version in color, film buffs have hungered for details, mostly in vain. The remake of Alfred Hitchcock’s 1960 black-and-white horror classic “Psycho” has been shrouded in secrecy.
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