A Quote by Sacha Gervasi

I think everyone who saw Alfred Hitchcock Psycho movie, as I did when I was young, was impacted. The shower scene is nuts. It still is, and I think what's wonderful about it is that it's universal. People understand the darkness and the violence, and it's shocking.
Any music star would be singing about his lost love. A movie would be about a relatable incident; it wasn't an untouchable magic dragon box. It was something that people could relate to, and when I vanished a girl, it would be a story about a girl that left me, or a cutting into pieces would be a date with a magician. I wouldn't just vanish a girl in a shower, I would do the shower scene from Psycho [1960] with a [Alfred] Hitchcock cameo.
When you take on Hitchcock you know it's gonna provoke some sort of controversy, because there were so many people talking about the book [Stephen Rebello's Alfred Hitchcock and the Making of Psycho] and wanting it to be the film about the making of this movie [Psycho]. But that's been done. That's been done in the book, and Stephen Rebello himself was like, "I want a movie which is an entertainment for the audience." So we made the conscious decision.
There are many stories of people didn't set out to make a film that became a classic - the whole process was a disaster, everybody hated each other, the movie itself was a disaster, everybody thought the movie and the script was going to be a piece of crap. Look at Alfred Hitchcock and Psycho. Nobody wanted to make Psycho; it was crap to them. The only person that wanted to make Psycho was Hitchcock. Now, it's considered a classic and a work of art.
Hitchcock was one of the few people in Hollywood who had a brand. Every movie he made was an Alfred Hitchcock movie, couldn't have been anyone else.
In films of terror, it's often not about being graphic. Or if there is a graphic image, it's extremely swift. Everyone talks about the shower scene in 'Psycho,' but that's the only graphic scene in the entire film.
My approach to violence is that if it's pertinent, if that's the kind of movie you're making, then it has a purposeI think there's a natural system in your own head about how much violence the scene warrants. It's not an intellectual process, it's an instinctive process. I like to think it's not violence for the sake of violence and in this particular film, it's actually violence for the annihilation of violence.
If you want to do a movie about aliens coming down to Earth nowadays, you need to do it with a smile. When Tim Burton did Mars Attacks, he tried to make it a little bit kitschy, because it's not scary for people anymore. It's not scary that birds will attack you anymore, but I'm sure it was when Alfred Hitchcock made it. And it still is when you watch it.
I worked with the best directors - Martin Scorsese, John Huston, David Lynch, Alfred Hitchcock. Alfred Hitchcock was great.
They know you're not Alfred Hitchcock, but you need to be enough Alfred Hitchcock for them not to be bothered by it. That's a reassuring thing.
I remembered watching the film from Alfred Hitchcock, 'Dial M for Murder,' and he shot almost all of that movie in one room. There was a genius in what Hitchcock did by manipulating things in that room so that you could see the distances between things like the tables and the vases because of how he used perspective.
Gun violence is almost promoted onscreen in these huge blockbusters and then sex is still so shocking. But I also can understand that people find it uncomfortable, which I think is cool.
I think of great masters, like [Alfred] Hitchcock, for example, who works absolutely within this sensational realm. You feel like you can always tell what temperature a room is in a Hitchcock film because the people feel alive, they don't feel like they're just being filmed on a stage.
B.I.G. was like the Alfred Hitchcock of rap. Like, this dude's story form was so nuts.
I think it's very touching to see young people interested in what we did a long time ago. They don't say, 'Well, I saw this old film with you.' They say: 'I saw this wonderful film. I really love it.'
I'm really interested in violence. And I think there's an inevitably cinematic property that violence brings to the moviegoing experience. But one still has to be thoughtful and mature about how you depict it and how you think it through. You have to think about the effects that violence has on audiences, and it's deployed so casually that I think it's losing its meaning. And when things like violence and murder and the dehumanization of other people lose their meaning, then we're really kind of in a place where we have to reexamine and take a hard look at ourselves.
Alfred Hitchcock once told me, when I was analyzing a lot of things about his pictures, 'Clint, you must remember, it's only a movie.'
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