78/52: HITCHCOCK'S SHOWER SCENE
October 2, 2017, 7:30 P.M.
The Ron Howard Screening Room, RZC 111, Robert Zemeckis Center for Digital Arts (RZC), 3131 S. Figueroa Street, Los Angeles, CA 90007
Outside the Box [Office] and IFC Midnight invite you and a guest to attend a special preview screening of
Written and Directed by Alexandre O. Philippe
Produced by Kerry Deignan Roy
Followed by a Q&A with Alexandre O. Philippe
7:30 P.M. on Monday, October 2nd, 2017
The Ron Howard Screening Room, RZC 111
The Robert Zemeckis Center for Digital Arts (RZC)
3131 S. Figueroa Street, Los Angeles, CA 90007
FREE ADMISSION. OPEN TO THE PUBLIC. RSVPs REQUIRED.
Official Selection: 2017 Sundance Film Festival; 2017 Fantastic Fest.
In Theaters & On Demand October 13th, 2017.
The screeching strings, the plunging knife, the slow zoom out from a lifeless eyeball: in 1960, Alfred Hitchcock’s Psycho changed film history forever with its taboo-shattering shower scene. With 78 camera set-ups and 52 edits over the course of 3 minutes, Psycho redefined screen violence, set the stage for decades of slasher films to come, and introduced a new element of danger to the moviegoing experience. Aided by a roster of filmmakers, critics, and fans—including Guillermo del Toro, Bret Easton Ellis, Jamie Lee Curtis, Eli Roth, and Peter Bogdanovich—director Alexandre O. Philippe pulls back the curtain on the making and influence of this cinematic game changer, breaking it down frame by frame and unpacking Hitchcock’s dense web of allusions and double meanings. The result is an enthralling piece of cinematic detective work that’s nirvana for film buffs.
Provided courtesy of IFC Midnight. Not rated. Running time: 92 minutes.
Visit the Official Website: http://www.ifcfilms.com/films/7852
An angry father once sent a letter to Alfred Hitchcock. His daughter, he claimed, hadn’t bathed since viewing the infamous bathtub drowning in Henri Georges Clouzot’s LES DIABOLIQUES, and refused to shower after seeing Janet Leigh slashed to death in PSYCHO. Unfazed by the comment, Hitchcock responded: “send her to the dry cleaners.”
Fifty seven years after its initial release shocked an entire generation of unsuspecting moviegoers, PSYCHO remains one of the most intensely discussed and analyzed movies of all time. Judging from the plethora of books (“The Moment of Psycho: How Alfred Hitchcock Taught America to Love Murder,” “Alfred Hitchcock’s Psycho: A Casebook,” “The Psycho File: A Comprehensive Guide To Hitchcock’s Classic Shocker,” “Psycho In The Shower,” “The Girl in Alfred Hitchcock’s Shower”), critical essays, sequels, cinematic tributes (Gus Van Sant’s PSYCHO, the Fox Searchlight production HITCHCOCK), and YouTube remakes, PSYCHO will likely remain an essential component of every film enthusiast’s vernacular as long as the language of film is treasured and celebrated in world culture.
Beyond the movie itself (a bona fide cultural watershed, and a key forerunner of the violent, disorienting films and real events of the turbulent sixties), the infamous shower scene has undoubtedly emerged as the single most iconic and significant scene in the history of motion picture arts and sciences. Every film student has been subjected to it. Every director and editor has studied it. Countless film buffs have been compelled to write about it, deconstruct it, interpret it, and delve into its methodical yet mysterious perfection. In 2006, Scottish artist Douglas Gordon even created a 24-hour slow-motion version of the film--titled 24-HOUR PSYCHO--that played at the Museum of Modern Art in New York. Like Nabokov’s PALE FIRE and Shakespeare’s HAMLET, the shower scene holds many secrets. It has literally transcended the genius of its maker to assert itself as a standalone behemoth, and it will likely never cease to yield new discoveries. Referring to it, Roger Ebert once said: “genius apparently resides between or beneath the shots, or in chemistry that cannot be timed or counted.”
78/52 explores that intangible “cinematic space” between the shots, and delves into Hitchcock’s genius in unprecedented fashion, to become the first feature-length investigation into the art, craft, and influence of a single extraordinary scene--one which forever changed the course of popular cinema, and continues to inspire some of the greatest filmmakers of our time. If PSYCHO changed the way people shower, it’s safe to say that after watching 78/52, you will never look at the shower scene the same way again.
- Alexandre O. Philippe
About the Guest
Alexandre O. Philippe (Writer, Director)
Alexandre holds a Masters Degree in Dramatic Writing from New York University’s Tisch School of the Arts, and is Creative Director of Denver-based Cinema Vertige and Exhibit A Pictures. He has written, directed and produced numerous award-winning films and documentaries, including THE PEOPLE vs. GEORGE LUCAS, THE LIFE AND TIMES OF PAUL THE PSYCHIC OCTOPUS, and DOC OF THE DEAD. Alexandre is also co-owner and co-creator of Fried Comics (friedcomics.com). Alexandre harbors a lifelong passion for Alfred Hitchcock’s movies. At the tender age of 12, he hosted a weekly Hitchcock film series for his parents and their friends in Geneva, Switzerland; and his passion for the Master of Suspense has grown exponentially ever since. He has conducted numerous film analysis and dramatic writing seminars and workshops at schools, universities, film festivals, and museums around the world--often with a focus on Hitchcock’s groundbreaking techniques. He created the screenwriting program at Lighthouse Writers Workshop in Denver, and was the host and curator of the popular Language of Film series at the Starz FilmCenter--stop/start deconstructions of important classic and contemporary films, including many of Alfred Hitchcock’s masterpieces. He has also served on several film festival juries, including the Edinburgh International Film Festival, Rome Film Festival, Sitges International Fantastic Film Festival, BiFan, and the New Zealand Film Awards.
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Check-In & Reservations
This screening is free of charge and open to the public. Please bring a valid USC ID or print out of your reservation confirmation, which will automatically be sent to your e-mail account upon successfully making an RSVP through this website. Doors will open at 7:00 P.M.
All SCA screenings are OVERBOOKED to ensure seating capacity in the theater, therefore seating is not guaranteed based on RSVPs. The RSVP list will be checked in on a first-come, first-served basis until the theater is full. Once the theater has reached capacity, we will no longer be able to admit guests, regardless of RSVP status.
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