So it was less about me than it was about the actors. “When I did Drugstore Cowboy, I was all of a sudden meeting with the heads of studios because they knew that actors would work with me, therefore if they got me on their movie they could get the actor that they wanted. The idea to remake Psycho was something Van Sant had actually been toying around with since the 1989 release of his film Drugstore Cowboy: Now they’ve found out that comics is the way to do it… but back in the 90s they hadn’t found that yet.” They would rather continue a story that’s already known in the public, and they were really searching for some way to do that. It wasn’t really about learning about Hitchcock, it was more that during the 90s the joke about the executives was that they would rather make a sequel than they would an original piece, because there was less risk. “There’s a whole reason behind it… I think the process of doing it was the learning, it wasn’t necessarily the result. To begin with, Van Sant was looking for a way to push back on Hollywood’s quest for popular IP: Many were left wondering why Van Sant would attempt such a fool’s errand, and while it was clear to some that this whole film was an experiment, the entire point of it all was lost on others.ĭuring a recent appearance on Marc Maron’s WTF podcast promoting his new film Don’t Worry, He Won’t Get Far on Foot, Van Sant took a beat to explain the motivation behind his Psycho remake, and it’s a fascinating story. The film was savaged by critics as tedious and pointless, and it failed to make a mark on the box office. Van Sant’s movie was released in 1998 with a cast that included Vince Vaughn, Anne Heche, and William H. Not only was Van Sant remaking a classic, but he was doing so shot-by-shot-each frame would be copied from what Hitchcock did in the original film. One of the most ambitious of choices in recent memory came from filmmaker Gus Van Sant, who followed up his Oscar-winning drama Good Will Hunting with a remake of Alfred Hitchcock’s Psycho. And some gambles simply don’t work, but remain noble efforts. Some gambles pay off, like casting Heath Ledger as The Joker in The Dark Knight, or crafting an entire film to look like it’s one shot in Birdman. Ambitious projects are the thing of legend in Hollywood.
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