Sequence Analysis Psycho, 1960: 118 SHOTS.
The first shot is a middle distanced shot as Marion waits outside her motel door. The rain sets an eerie atmosphere. The porch is only lit by the door lamps and light from inside the room, this makes everything in the centre of the frame well lit, but what is on the edges not so clear. Marion stands with her back to the camera on the edge of the frame, waiting for Bates to appear, her back is in darkness. Hence everything around the motel is given a mysterious atmosphere and a mood of unease is created as viewers feel they have been placed in unfamiliar sourroundings. Even Bates, who emerges from the darkness, around the corner of the porch has a sense of mystery about him. Abrupt high pitched music also accompanies his appearance. It starts and stops, causing a nervous agititated sensation among viewers. His movement is followed with a panning camera. After a nervous pause, he walks towards her. Shadows cast from the motel fall onto his face, covering and uncovering it repeatedly. This may symbolise the darker sides to Bates and the struggle between the two facets of his personality, his public persona and his more disturbing, twisted 'mother' personality. As they stand together on the porch, the shot is balanced with Norman on the left and Marion on the right. It is still a middle distance shot, and we see clearly their body moments, such as Marion crossing her arms, suggesting awkwardness and Normans shifting, also creating a nervous aura. Norman's image is reflected in the glass window behind him, which can be interpreated as an insight and foreshadowing into the split nature of his personality we will eventually find out about.
Anthony Perkin's (Norman Bates) make up is natural, making him appear just like an ordinary man. Janet Leigh's (Marion Crane) make up is used to create an image of her as an attractive 1960's woman. Her beauty must be emphasised to support the plot that Bates kills her because of his sexual frustration and attraction to her.
