Robert Galluzzo Talks The Psycho Legacy
”Also, as a die-hard fan, I knew everything that had come before this,” continued the filmmaker. “I own all the making-of books on Psycho, and the original DVD release has an incredible documentary by Laurent Bouzereau that covers everything you'd ever want to know about the original movie. So I didn't want to repeat that or compete with it. I think of The Psycho Legacy as a complement to Bouzereau’s doc - an unofficial sequel if you will. So if you watch them back to back, you'll get the entire Psycho series story.”
The journey of filmmaking is always an interesting one, from assembling financing and crew to the acquisition of talent, and often takes interesting turns. Galluzzo good-naturedly communicated to us his storied adventure of opening dialogue with and eventually interviewing E.T. and Psycho IV star Henry Thomas.
“I had communicated with Henry Thomas' management for several months before they took me seriously,” said the filmmaker, “and what was funny was that I ended up getting ahold of him via Facebook! His interview came together rather quickly after that.”
In true independent fashion, Galluzzo was left to scramble for a key piece of equipment in order to successfully complete the Thomas interview and turned to friend and genre-notable ‘Spooky’ Dan Walker in order to borrow his microphone.
“We went to Henry's,” recalled Galluzzo following his acquisition of the mic, “and shot an awesome interview in one afternoon. As I was driving home, I realized though that I had left the mic behind! Now, Spooky had a shoot he was leaving for in two days so I knew I absolutely had to get the microphone back. I felt like a jerk, but I called Henry and left a message. I didn't hear anything back so I sent him an email and then a Facebook message, and still nothing. I felt horrible, but I didn't want to suffer the wrath of Spooky Dan so I left another voicemail asking if he could just put it in his mailbox and I'd pick it up later that night, and still I heard nothing. So I stopped by later that night ... still nothing! Finally, the next day I stopped by his house again, and as I was waiting at the gate, a few guys pulled up with their guitars in tow. They turned out to be Henry's band, and they were gearing up for band practice so finally he came down to let us all in. He saw me just standing in the middle of his crew and was like, ‘Ah, so that mic is yours, isn't it?’ I got it back then, but considering he was going into band practice I had the sneaking suspicion that he was going to use it! So although it probably wasn't the case, I laugh at the idea that Henry Thomas tried to keep Spooky Dan's microphone. It's just one of the many fun stories I can tell about this wacky journey making this thing!”
Galluzzo remains thankful to Thomas and everyone involved in assisting him make his doc a reality and in particular to The Psycho Legacy composer Jermaine Stegall.
“Talk about a daunting task - recreating music that was originally done by guys like Bernard Herrmann, Jerry Goldsmith and Carter Burwell!“ said the filmmaker of Stegall’s score. “It became obvious very early on that licensing the music was going to be ridiculously expensive, and I funded this out of pocket so I didn't have a lot of money for anything! Needless to say, as an incredible composer and fan of those previously mentioned guys, Jermaine perfectly captured the essence of what they did for their respective Psycho movies and made it an homage. The music he came up with for the Psycho IV segment is all original, and my only instructions were that I wanted something that was melodic yet melancholy. This is the movie where we meet a vibrant, gorgeous mother Bates, but at the same time, Norman loves her so much he kills her. So subtly I wanted the music to reflect that, and he nailed it. If anything, I'm glad I did this doc just to get that original piece of music out of Jermaine for that segment!”
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