PSYCHO 2 PDF

Friday, November 1, 2019


Psycho 2 by Robert Bloch (Bengali Translation, PDF Book). resourceone.infoarchive. com. Book name: Psycho 2. Writer: Robert Bloch. Book Category/Genre. You remember Norman Bates, the shy motel manager with the fatal mother fixation. Psycho II is a novel that Robert Bloch wrote as a sequel to his novel Psycho. The novel was completed before the screenplay was written for the unrelated film Psycho II. Jan 18, Psycho 2 by Robert Bloch (Bengali Translation, PDF Book), resourceone.info


Psycho 2 Pdf

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Bookfan53 I had to buy Psycho 2 as a second-hand paperback online. It definitely is not available as an E-book. Psycho House was even more difficult, but. California Phone: () UNIVERSAL STUDIOS "PSYCHO II" - Cast & Credits Page 2 THE CAST Norman Bates ANTHONY PERKINS Li la. Psycho 2 By Robert Bloch Just how can you alter your mind to be much more open? There several resources that can aid you to enhance your ideas. It can be .

He is also very trusting and generous of spirit. He's a likeable guy with some very winning qualities. I think the audience will feel compassion for him. She had also seen several other scripts over the years which she felt did not capture the flavor of the original. For years movies have been trying not to duplicate 'Psycho,' but to out-ugly and out-terror it. What is unique about this film is that it's been kept in the genre of Hitchcock, which is al- ways tasteful. It puts terror in the mind of the audience, not in the eye of the viewer.

He used his television crew and shot it on a very low budget and a short schedule in black and white. Producer Hilton Green felt very strongly that a major studio could make a quality low budget movie today. If the movie is designed carefully and plotted out, there is no reason with the cooperation of the director, that you can't achieve quality without a lot of money.

Basically the house is one of the stars of the piece and we were fortunate to have part of it already here on the lot at Universal. It represents all the values of his past, his mother and society. It's 22 years later, but Norman and the house haven't changed very much. They are both time capsules.

Green and Franklin found another site on the lot that best duplicated the original location. Using photo- graphs from the original film, Corso reconstructed the Bates Motel below the house.

The steps up to the house were cast from a mold for the stone pattern and constructed in the pro- per perspective to the motel below. The Bates Motel was built from scratch, using photographs and some old blueprints. Only 40 feet of the front side of the motel was filmed. The rest of it and the flashing neon sign were done optically with matte artistry. The only clues she had at her disposal were the film itself and a book of frame-by-frame stills, both, of course, in black and white.

Many times she had to rely on wall shadows to recreate the items on these sets.

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Producer Green helped to verify their accuracy from his memory of the original sets. She visited all the rental houses in Los Angeles with her photographs.

Her persistence paid off: To achieve the tone and mood that Franklin knew were es- sential for this psychological thriller r he opted for the German Expressionist cinematic style, a form which had influenced Hitchcock also. In pre-production Franklin and cinematographer Dean Cundey "The Thing," "Escape From New York," "Halloween" screened several legendary films which employed the German Expressionist style of exaggerated sets and deep shadow areas.

They also went through some of Hitchcock's films, particularly "The Lodger," his film about Jack the Ripper which is probably the closest film to "Psycho" that he ever made.

In doing that, Richard went back to the original film quite a bit to find particular shots that will strike a note in the mind of the audience so that they remember the same feeling from a particular scene or a particular shot and then carry it on past that into the new film. As Cundey describes it, the Louma crane "has a camera which is mounted on the end of a boom or pole that can be anywhere from 12 to 24 feet long.

This camera has a TV monitor and is manipulated by the operator who watches the camera through a TV system. As such, you are only limited by where you can poke the end of the pole that has the camera on it. It was lifted over 40 feet in the air to shoot through the little round window at the top of the house and then maneu- vered all the way down to ground level, in one move, after creeping along the roof line.

The film was shot in stark, high contrast color to give it the texture of the original movie's black-and-white look. Cundey 's style of lighting creates areas where danger could be lurking to elevate the suspense level for the audience.

He used Kodak's new High Speed Negative film to create high contrast at low levels of light. Involving the audience emotionally was a major concern of Hitchcock, and it is to Richard Franklin also. After the film, he transferred to Columbia University in New York, where he majored in history. At the cost of his college degree, he performed in the play on Broadway and on tour for more than a year.

While she was in high school Miles entered a beauty contest which led to her appearance in the Miss America Pageant, where she was third runner-up.

Miles considers her ingenue lead in "For Men Only," in , to be her real acting debut. She did the pilot of the Alfred Hitchcock television series and starred in four television movies for the director, including "Incident At A Corner.

Some of her other films include "Beau James," "The F. On stage. In high school she began dancing and acting in community plays.

She and her sister Jenny also sang in the Royal Conservatory Choir, which enabled them to travel and perform in such dis- tinguished places as Westminster Abbey.

After graduation from high school, she moved to New York City to pursue a dancing career. She gravitated towards acting at this time. He starred in the Actors Studio production of Three Sisters , and has been a member of that group since I, and Hart To Hart. His affinity for Alfred Hitchcock films developed when he was years-old and sneaked into a theatre five times to see "Psycho.

Franklin transferred to the U. Film School in While at U. Franklin arranged a three-week retrospective of the films of Alfred Hitchcock and, through this, had his first meeting with his idol, while sharing a stage during a seminar discussion of his films. During this time he also made underground films on weekends. In , Franklin joined his friend and former U. During most of that time. Green worked as Alfred Hitchcock's first assistant director on the Alfred Hitchcock Presents television series and as the first assistant director of the original "Psycho" and the production manager of "Mamie.

His first job was as the second A. He was then hired as the staff second A. From to , Green was assistant production manager for Universalis feature production office.

Psycho 2 by Robert Bloch (Bengali Translation, PDF Book)

He then became vice president and executive in charge of production for the company from to , when he was assigned to produce "Psycho II. He was also an aspiring actor, and apprenticed in acting and playwriting at the Bucks County Playhouse in Pennsylvania.

At the age of 16, he was doing commercials in New York. He quickly landed the lead role in the soap opera, A Time For Us.

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From then on, he continued writing and had his third script, "Trixie," optioned by pro- ducer Dick Berg. He has since had several screenplays optioned. Schwartz was brought to Hollywood to watch over Howard Hughes's movie interests.

He teamed with show business attorney Gregson Bautzer to package movie deals for many of Hollywood's best-known personalities. The film received seven Academy Award nominations, the best actress Oscar for Sissy Spacek and the Golden Globe award for best picture.

Schwartz served as the executive producer of "Road Games," which was directed by Richard Franklin. He attended California State College, Los Angeles, where he studied architecture and graphic design, with intentions of a career as an art director in film.

Psycho II Press Kit.pdf (PDFy mirror)

Cundey worked at a variety of film jobs gaining experience in the business before he shot his first film, "Brother On The Run. He then photographed six thrillers for director John Carpenter: I don't think I've ever played anyone quite like him. Of course, Norman has changed after 22 years in an institution. He's more educated about himself now and has the knowledge that he has the potential of being dangerous.

This is Norman's story. He is very trusting and generous of spirit. Born in New York City on April 4, Perkins inherited his acting talent from his father, Osgood Perkins, a distinguished stage and screen actor who did not live to see his son carry his professional tradition and reputation into another generation. The family lived in New York until Tony was 12, at which time they moved to Massachusetts.

He excelled at soccer, tennis and basketball; outside of sports f his sole interests were literature and drama. Perkins later moved to Florida , where he attended Rollins Colleger majoring in history. He heard nothing and returned to college in Florida, where six months later, he received a note asking him to report to Hollywood for ward- robe tests. Perkins made an impressive film debut, working with Simmons and Spencer Tracy, under the direction of George Cukor.

In , he starred in Alfred Hitchcock's "Psycho" in the role that brought him international attention — Norman Bates. It's only a movie. It's all good angles and clever music and very artful intercutting. It's very discreet and I think that's one of the reasons it's been a famous and successful scene; it doesn't grab the audi- ence and shake it by the throat. All the violence in it is really more what one brings to it as an audience, rather than what is actually on the screen.

Romantic Comedy.

They were enchanted by Hitchcock's humor and fine touch. I think people who liked 'Psycho' will like 'Psycho II' also. It has all the ingredients, but it has a story which is original. It also treats the audience well; it's discreet and it's fair.

I think that's been captured in this picture the same way it was in the original. He would have approved of Richard's on-set demeanor, efficiency and humor.

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There is a good spirit to this film, and I've enjoyed it. Bernard Schwartz was the executive producer. Tilly was born in California and raised in Victoria, British Columbia. Her parents didn't allow a television set in the house, so she and her two sisters and three brothers amused themselves by writing, acting and singing in family productions. She and her sister Jenny also sang in the Royal Con- servatory Choir which enabled them to travel and perform in such distinguished places as Westminster Abbey.

After graduation from high school at the age of 16, Tilly moved to New York City to pursue a dancing career. Although she says she was initially intimidated by the city, she quickly learned her way around, ascertained the best dance schools in the city, and even won a scholarship to one.

When her dancing ambitions were cut short by a clumsy partner who accidentally dropped her on her back, Tilly grav- itated naturally towards acting. Ironically, her first acting Universal City, California Phone: After securing an agent she was sent out on several inter- views for TV pilots and films.

She kept getting close but with no real credits behind her she remained a longshot. She was therefore surprised and elated when she was called to Walt Disney Studios to test for the role of Jamie Collins, a feisty year-old Oklahoma tomboy, in "Tex. When she entered the room during the last half-hour of the last day of auditions, it was instantaneous and unanimous that she was right for the part.

Adam Claiborne, has spent the last two decades working with Norman and has hopes of one day becoming famous by curing him. His plans come crashing down after Norman strangles a visiting nun with her rosary beads , then steals her outfit and walks out. Norman gets in the van with the other visiting nun and kills her with a tire iron, then rapes her dead body. As he drives away, Norman spots a hitchhiker and picks him up with plans to kill him and use his body to fake his death.

Later that night, the police find the van on fire with the charred remains of the nun and an unidentified man presumed to be Norman. Since this happened at the same time as a massive car pile up, they are exhausting their resources trying to identify the victims to notify their next of kin and can not get around to positively identifying Norman's remains.

Meanwhile, across town, Sam and Lila Loomis are murdered by an assailant with a knife.

Claiborne is convinced that Norman faked his death and proceeded to kill them, but the police are skeptical. As they are surveying the crime scene, they see a news article talking about a movie being made based on Norman's life.

Claiborne is convinced that Norman is going to Hollywood to kill everybody involved in production, so he heads out there to stop him. Fearing the worst, Claiborne gets a job as a technical consultant on the film to keep an eye on everything.

He gets introduced to the cast and crew, including director Vizzini, who is the spitting image of Norman twenty years previously. Claiborne keeps thinking that something bad is going to happen, but nobody believes him until the movie's producer gets decapitated with a meat cleaver.

It is revealed that Vizzini's mother was raped and murdered when he was a child and that the trauma from it has affected his sexual morality.

Vizzini calls the actress playing Marion Crane to the movie studio where the shower scene is going to be shot under the guise of rehearsing the scene, but he is really planning on raping and murdering her. Claiborne finds out about this and, suspecting that something is not right, heads out to the studio to stop Vizzini. Right after Claiborne leaves, Ames gets a phone call from the officer investigating Norman's disappearance, who have conclusively identified the charred remains as Norman's.

It turns out the hitchhiker killed Norman in self-defense and, worried about going to jail, burned the van to hide the evidence. However, the hitchhiker, believing Norman was really a nun, was driven by his conscience to turn himself in. Ames concludes that if Norman is dead, and contacts the police to tell them Vizzini is the murderer.

Meanwhile, the actress manages to fight off Vizzini, who is stabbed by an assailant. When the assailant approaches the actress with the knife, the cops show up and shoot him. As he falls, he is revealed to be Claiborne. After surviving the shooting, Claiborne gets committed to the very asylum that Norman spent twenty years in.

His colleague deduces that when Norman died, Claiborne realized his career was finished and the trauma of it gave him Norman's split personality. This personality killed Sam and Lila, Vizzini, and the producer. Now, his colleague is hoping that he will one day be cured, but he is not very hopeful. From Wikipedia, the free encyclopedia. This article needs additional citations for verification.According to Bloch, Universal Pictures loathed the novel, which was intended to critique Hollywood splatter films.

Franklin transferred to the U. If you continue browsing the site, you agree to the use of cookies on this website. This is built around the format of a psychological thriller. Psycho II Robert Bloch.