Psycho Path

Feb 10, 2000

0h 30m

★ 6.7

Overview

Documentary on the making of Gus Van Sant's "Psycho."

Genres

Documentary

Production Companies

Madman Films

ViaVision

Universal Pictures

Psycho Path Trailers

No Trailers found.

Cast

Self - Cinematographer

Christopher Doyle

Self - Arranger

Danny Elfman

Self - Actor / Sheriff Chambers

Philip Baker Hall

Self - Actress / Marion Crane

Anne Heche

Self - Filmmaker

Bruce LaBruce

Self - Actor / California Charlie

James LeGros

Self - Actress / Lila Crane

Julianne Moore

Self - Actor / Sam Loomis

Viggo Mortensen

Self - Actor / Milton Arbogast

William H. Macy

Self - Village Voice

Michael Musto

Self - Director

Gus Van Sant

Self - Actor / Norman Bates

Vince Vaughn

For the first time on DVD, the Alpha Archives Collection proudly presents a two part feature length documentary celebrating the history of the Amicus Productions film company. Founded in the early 1960s by Americans Milton Subotsky and Max J. Rosenberg, Amicus produced some classic (now cult) horror movies, including Dr. Terror's House Of Horrors, The House That Dripped Blood, Tales From The Crypt, Asylum and From Beyond The Grave. Featuring interviews with key individuals who worked for Amicus (actors, directors, etc.), and with many rare photographs and production designs throughout, this documentary is a must-see for fans of British horror cinema.

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Disney: Through the Looking Glass

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Join Mike, Tom, and Yuri in the studio as they record their album "Secret Weapon."

No Image Available

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In 1967, Visconti came to Algiers for the filming of The Stranger with Mastroianni and Anna Karina. Camus, during his lifetime, had always refused to allow one of his novels to be brought to the screen. His family made another decision. The filming of the film was experienced in Algiers, like a posthumous return of the writer to Algiers. During filming, a young filmmaker specializing in documentaries Gérard Patris attempts a report on the impact of the filming of The Stranger on the Algerians. Interspersed with sequences from the shooting of Visconti's film, he films Poncet, Maisonseul, Bénisti and Sénac, friends of Camus, in full discussions to situate Camus and his work in a sociological and historical context. “The idea is for us to show people, others, ourselves as if they could all be Meursault, or at least the witnesses concerned to his drama.”

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No Image Available

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7.5

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0.0

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