Historically, however, opening credits have been the only source of crew credits and, largely, the cast, although over time the tendency to repeat the cast, and perhaps add a few players, with their roles identified (as was not always the case in the opening credits), evolved. Opening credits since the early 1980s, if present at all, identify the major actors and crew, while the closing credits list an extensive cast and production crew. When opening credits are built into a separate sequence of their own, the correct term is a title sequence (such as the familiar James Bond and Pink Panther title sequences). There may or may not be accompanying music. They are now usually shown as text superimposed on a blank screen or static pictures, or sometimes on top of action in the show. In a motion picture, television program or video game, the opening credits or opening titles are shown at the very beginning and list the most important members of the production. Hitchcock is hinting that Mother is Norman, but Van Sant, expecting that modern audiences are already aware of the twist, is blocking the scene differently.A Farewell to Arms, based on the 1929 semi-autobiographical novel by Hitchcock has Mother walking the other direction, towards the stairs, and preceding Norman appearing from the front door. Also, Van Sant first shows us Mother walking from right to left in the window of the Bates house, moving away from the central staircase. For instance, Marion is on the left in the used car lot scene, which subconsciously in the audience gives her agency in the dialogue, as if she's driving the conversation, not the car dealer. Many scenes are mirrored, where Van Sant reverses actors' movements compared to Hitchcock. Hitchcock tried, and failed, to do the aerial opening scene into the hotel window in one continuous shot similarly, the pan out from Marion's eye and out of the bathroom door - Van Sant, with modern technology, was able to achieve both. The explanatory scene at the end, which Hitchcock was against doing, Van Sant cuts down considerably. There's an extra line of dialogue Van Sant restored in the estate agent scene between Marion and the millionaire, which was in the original 1960 script but cut - something along the lines of the millionaire saying he was going to Vegas ("The best playground in the world"), and Marion declines, saying she's going to bed, to which he replies, "The second best playground." However, it's not true that Van Sant adds nothing to his version - I've said all this before, so I'll just paste in previous remarks: I like it a lot, mostly as a film exercise more than an actual film. It's fairly well documented that Van Sant remade Psycho because Universal were going to do so anyway and he wanted to show that it didn't need to be remade in any other way as exactly as Hitchcock had already done it.
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