BBCcom_Content_Index_for_November_28_2019.txt
'It's a reference whenever you want to build tension' How Psycho's terrifying music changed film forever.txt
'It's a reference whenever you want to build tension': How Psycho's terrifying music changed film foreverSkip to contentBritish Broadcasting CorporationRegisterSign InHomeNewsSportBusinessInnovationCultureArtsTravelEarthAudioVideoLiveHomeNewsIsrael-Gaza WarWar in UkraineUS & CanadaUKUK PoliticsEnglandN. IrelandN. Ireland PoliticsScotlandScotland PoliticsWalesWales PoliticsAfricaAsiaChinaIndiaAustraliaEuropeLatin AmericaMiddle EastIn PicturesBBC InDepthBBC VerifySportBusinessExecutive LoungeTechnology of BusinessFuture of BusinessInnovationTechnologyScience & HealthArtificial IntelligenceAI v the MindCultureFilm & TVMusicArt & DesignStyleBooksEntertainment NewsArtsArts in MotionTravelDestinationsAfricaAntarcticaAsiaAustralia and ok google abrindo o jogo de cornoPacificCaribbean & BermudaCentral AmericaEuropeMiddle EastNorth AmericaSouth AmericaWorld’s TableCulture & ExperiencesAdventuresThe SpeciaListTo the Ends of The Earth EarthNatural WondersWeather & ScienceClimate SolutionsSustainable BusinessGreen LivingAudioPodcast CategoriesRadioAudio FAQsVideoLiveLive NewsLive SportHomeNewsSportBusinessInnovationCultureArtsTravelEarthAudioVideoLiveWeatherNewsletters'It's a reference whenever you want to build tension': How Psycho's terrifying music changed film forever24 July 2025ShareSaveThomas HobbsShareSaveAlamyAlfred Hitchcock's grisly horror, which turns 65 this month, might not have become known as an-all time classic without the crucial addition of Bernard Herrmann's disturbing score.Screaming violas that sound like they're coming out of an abattoir. Thumping bass notes, which slowly decrease in speed and seem to imitate a victim's faltering heartbeat. Take away composer Bernard Herrmann's score for director Alfred Hitchcock's Psycho, which turns 65 this month, and it's fair to say this 1960 horror film wouldn't have the same nerve-shredding impact. Particularly key is the knives-edge music that plays when blonde bombshell Marion Crane (Janet Leigh), not long after checking in to the Bates Motel, is attacked through a shower curtain by a shadowy killer, who later turns out to be the motel's owner, Norman Bates (Anthony Perkins), dressed up as his dead mother. "That music is everything," says Rachel Zeffira, a film composer and one half of art-folk duo Cat's Eyes. "It's the birds, it's the bees, and it's the voices in the back of your head."AlamyAnthony Perkins and Janet Leigh in Psycho – leading up to the shower scene that had a profound effect on audiences and cinema (Credit: Alamy)The project had seemed ill-starred from the start, with executives at Paramount (who had produced Hitchcock's previous five films) showing little interest, not allowing him to film it on their lot, and only distributing it rather than producing it themselves. But despite a paltry budget, Hitchcock proved everybody wrong, and for that he could partly thank Herrmann and his knack for crafting compositions that lifted scenes to new heights."Psycho was certainly not a bad film before it was scored, but it lacked tension," explains Steven C Smith, the author of a new book, Hitchcock and Herrmann: The Friendship and Film Scores that Changed Cinema. Herrmann proceeded to give the film a much-needed jolt by writing music for an all-string 50-person orchestra that marked a "return to pure ice water", as the composer described it to Sight and Sound.Before writing film music, Herrmann would always read the novel a movie was based on and study the literature, so his score was more empathetic. Every note Herrmann played had meaning – Rachel ZeffiraIn the case of the most famous scene, this resulted in a chorus of psychologically jarring, high-pitched squeals that meant terrified audiences no longer saw the shower as a safe space. "Before the shower scene many of the musical cues have a depressive quality and they're not really that loud," Smith says. "But suddenly with the shower scene, the mutes are off the strings, and they screech animalistically. This creates a clever link with Norman Bates, the taxidermist of birds."Herrmann forced an initially dismissive Hitchcock to watch the shower sequence both with and without his jump-scare music. "Oh yes, we must use it!" Hitchcock concurred. "But I thought you didn't want my music here?" Herrmann sarcastically replied, before the director scoffed: "My boy, improper suggestion."It's an anecdote that reflects the pair's fiery partnership. Their creative union consistently resulted in film scores that make the viewer feel like they are caught up in a character's murky inner dialogue, privy to both their most romantic dreams and most hopeless nightmares (see Vertigo). Zeffira describes the music that plays whenever Norman Bates is on screen as being "dejected and anxious", which she says "makes you feel sorrow for a killer. I know before writing film music, Herrmann would always read the novel a movie was based on and study the literature, so his score was more empathetic. Every note Herrmann played had meaning".The origins of Herrmann's geniusAn avid childhood reader, Herrmann (or Benny as he was called by friends) spent most of his downtime passionately debating whether literature or music was the greatest art form. Music ultimately won out, and Herrmann was winning classical competitions by the age of 13. Having studied at New York University under the legendary composer Percy Grainger, one of Herrmann's first professional roles as a studio musician was for CBS Radio. AlamyAlfred Hitchcock (left) and Bernard Herrmann (right) worked on six films together before falling out professionally (Credit: Alamy)At CBS he worked with Orson Welles, winning his trust with 1938's radio adaptation of War of the Worlds, which was so realistic that some listeners believed it signalled a real unfolding alien invasion. He then became the obvious choice for scoring Welles' 1941 masterpiece, Citizen Kane. Working on hundreds of radio plays taught Herrmann how to create compositions that conjured up imagery, and also taught him the power of long pauses: he used silence as another instrument to build suspense.Professionally, Herrmann was known for having a fiery temper and, as his daughter Dorothy told the New York Times, he "didn't suffer fools gladly". Yet Smith is keen to stress that the musician was less moody than his reputation suggests, and tended to go out of his way to recommended younger composers for jobs. "He was misunderstood," Smith says. "Given his reputation for irascibility, I think people would be surprised at how gentle Bernard could be, especially with animals. He was suspicious of arrogant humans, but he gave unconditional love to his cats."Brandon Brown is a South Carolina-based film-maker who is working on an untitled documentary on Herrmann's life. One thing Brown believes often gets left out the story is the horrors of the era in which Herrmann came of age. Although he was born in New York City in 1911, Herrmann's family had been Russian-Jews who fled Eastern Europe for a better life. They would almost certainly have abruptly left friends behind in Ukraine, who would later either be displaced or massacred by invading Nazi armies. More like this:? Alfred Hitchcock on his film-making secrets? The inside story of the wildest shoot ever? How Brokeback Mountain challenged Hollywood"You can hear in Herrmann's radio and film work, especially the stuff created through WW2, that he was deeply affected by what's happening," says Brown, citing the music he produced for 1947's supernatural drama, The Ghost and Mrs Muir. For the film's The Spring Sea arrangement, there's a blossoming flute harmony, representing revitalising morning bird song. However, the sunny tones are tinged with sadness due to pensive, descending strings that sound more like a mother's cries."Herrmann considered The Ghost and Mrs Muir his best work," says Brown. "It's easy to see why. It's so gorgeous and melancholic at the same time. It captures how the world felt in the 1940s, a time where even a sunny day was haunted by ghosts. This was a downcast tone he'd hang onto for Psycho." In many ways, the way he was conducting film music was a lot like how rap producers chop up beats – Michael Vincent WallerBy 1960, Herrmann was a giant in the film business; what's more, he and Hitchcock had already made five landmark films together (The Trouble with Harry, The Man Who Knew Too Much, The Wrong Man, Vertigo, and North By Northwest) and developed a seamless chemistry. Still, Smith believes Psycho was a production where Herrmann re-energised a weary director. "Hitch feared that he had made a mistake filming such gruesome material – something many advised him not to do," explains Smith. "But Herrmann made Hitchcock fall in love with the project once again. Herrmann later said he wrote Psycho's score for an all-strings orchestra to create 'a black-and-white sound' to complement the black-and-white photography."AlamyJohn Williams's famous theme for Jaws is among the many bits of film music that bear the imprint of Psycho (Credit: Alamy)Aside from helping turn Psycho into a massive hit for Hitchcock (grossing $32m against a budget of $800k), Herrmann saw his score create ripples throughout popular culture in many other unexpected ways. Producer George Martin based his wounded 1966 string arrangement for The Beatles' Eleanor Rigby on Herrmann's Psycho music. "George wanted to bring some of that drama into the arrangement," Paul McCartney once explained to the BBC.The score's varied legacyThe film's central theme would also go on to be sampled by dozens of other artists. Perhaps the most exhilarating example is rapper Busta Rhymes' 1998 single Gimme Some More. According to the hip hop producer and contemporary classical composer Michael Vincent Waller, Herrmann's Psycho score is beloved by rap artists. "Herrmann knew how to loop these little nihilistic fragments and become this master of repetition. In many ways, the way he was conducting film music was a lot like how rap producers chop up beats."Waller says that Psycho didn't just change horror, but wider cinematic storytelling: "The Psycho music is a reference whenever you want to build tension and it's clear John Williams was inspired by Psycho for his stalker-ish bass notes for Jaws. Whenever you hear creepy violins in a horror movie, or feel like a film score has become its own character, then that can all be traced back to Psycho."The creative relationship between Hitchcock and Herrmann ended on 1966's Torn Curtain. The former was incensed that the latter stubbornly refused his orders to make a stripped back pop score, insisting instead on using 12 flutes, 16 horns, nine trombones, two tubas, eight cellos, eight basses and two sets of timpani. Herrmann was fired, but it didn't derail his career, and right until his death from a heart attack in 1975 the composer remained an innovative force. In particular, a late collaboration with a young Martin Scorsese on 1976's Taxi Driver secured Herrmann's musical legacy. Working prominently with a saxophonist (musician Ronnie Lang), he composed smoky, airborne jazz notes which are so vivid you can picture pollution smog rising through the cracks of Manhattan's sewers. Scorsese's film also offers a truly full-circle moment with Psycho: at the very end of Taxi Driver, Herrmann quotes the earlier film's three-note theme The Madhouse. "He told his wife Norma that he did it because he wanted to say to the audience that Taxi Driver's Travis Bickle is going to commit violence again," explains Smith.Among Herrmann's exceptional work, the Psycho score and its clawing, scraped-out violin arrangements remain an obvious highlight. It's one of the only scores Herrmann re-recorded, a clear sign of pride, and it remains a perfect example of how music can elevate a film. Or, as a sharp-tongued Herrmann put it himself in one of his final interviews: "A composer writes a score for a picture, and he gives it life. Like a fellow goes to a doctor, says, 'I'm dying,' and the doctor cures him." --If you liked this story, sign up for The Essential List newsletter – a handpicked selection of features, videos and can't-miss news, delivered to your inbox twice a week.For more Culture stories from the BBC, follow us on Facebook and Instagram.MusicFilm historyHorrorFeaturesArtsClassical musicWatchJapan's photo tomb that contained a historic legacyThe Japanese photographer who buried hundreds of photos and the journey to revive his legacy.2 days agoTime FrameInside the 1950s house that shaped a British rock legendSir Paul McCartney's childhood home in Liverpool offers a rare glimpse into the early life of a global icon.20 Aug 2025BBC SelectWhy Elton John burst into tears after recording a songThe musician explains a heavy moment thinking about the lyrics of a song from his forthcoming album.17 Mar 2025MusicHow a performance lab is putting musicians to the test BBC Click visits a simulator lab that allows musicians to practice performance in real-world conditions.17 Jan 2025InnovationThe technology powering the iconic Sydney Opera HouseBBC Click heads behind the scenes of the Sydney Opera House to explore the tech powering the famous landmark.3 Jan 2025TechnologyListen to the 'earliest known country song' ever recorded A wax cylinder containing the oldest recorded country song was discovered in Pennsylvania. 18 Dec 2024MusicHow the surreal 'Dali Atomicus' was capturedIn 1948 a famous artist and an innovative portrait photographer attempted to create something unbelievable.10 Dec 2024Time FrameJennifer Lopez explains why she cancelled her tourJennifer Lopez explains why she cancelled her tour, and is surprised by a fan in the studio.23 Nov 2024MusicA look inside Michelangelo's 'secret room'The BBC gets access to Michelangelo's 'secret hiding room' under the Medici Chapel in Florence.2 Nov 2024Art & DesignWhy Bruce Springsteen will never stop performing75-year-old Bruce Springsteen explains why he has no plans to stop touring.30 Oct 2024MusicAI v The Mind: Meet the world's first artist robotWe find out how AI blurs the line between creation and automation, raising questions about the essence of art.18 Oct 2024InnovationShahmaran: The mythical symbol inspiring Turkish artistsThe 'Shahmaran', half-woman and half-snake, is a mythical figure popular in the folklore of Turkey. 12 Jul 2024Art & DesignThe legendary soprano making a differenceDame Kiri Te Kanawa has enjoyed one of the longest careers in operatic history.2 Mar 2024OperaCallas at 100: 'This is the stuff legends are made of'Zeinab Badawi heads to Athens to celebrate the centenary of the birth of opera soprano Maria Callas.8 Jan 2024OperaWhat do we mean when we talk about 'Islamic art'?Art critic Alastair Sooke travels to Doha to discover some of the treasures of the Museum of Islamic Art.20 Dec 2023Art & DesignThe Doha Hind: The charming 10th-Century garden ornamentArt critic Alastair Sooke learns about a decorative 10th-Century treasure at Doha's Museum of Islamic Art.20 Dec 2023Art & DesignBlue Quran: A rare 1,000-year-old masterpieceArt critic Alastair Sooke learns about a masterpiece of the Islamic world at Doha's Museum of Islamic Art.20 Dec 2023Art & DesignBehind the scenes at La Scala in MilanZeinab Badawi takes us behind the scenes at La Scala in Milan to find out how magic is made.11 Dec 2023OperaThe journey to become an opera singerWe travel to La Scala in Milan, Italy the iconic stage where every opera singer dreams of performing.11 Dec 2023OperaJapan's ancient art of Taiko drummingVisually-impaired content maker Lucy Edwards learns about Japan's ancient art of Taiko drumming.27 Nov 2023Culture & ExperiencesMore from the BBC16 hrs agoThe controversial sweet that fuels NorwegiansKnown as 'the trip chocolate', Kvikk Lunsj has fuelled outdoor adventures for generations. So, what makes this chocolate so controversial?16 hrs ago17 hrs agoHow women's pockets became so controversialWhy do men's clothes have so many pockets, and women's so few? For centuries, the humble pocket has been a flashpoint in the gender divide of fashion. Is that finally set to change?17 hrs ago18 hrs agoEarth has now passed peak farmland. What's next?The world's use of farmland has peaked, bringing the chance to turn over more space to nature. How far could the trend go?18 hrs ago2 days agoThe road trip that celebrates a musical legendMany towns and cities along the Blues Trail have planned festivals, exhibitions and live music to mark the 100th birthday of the homegrown musical legend.2 days ago2 days ago'He is an awful man': Why we are wrong about DarcyMostly miserable and even "unforgivably cruel", Jane Austen's famous romantic hero is not what he seems, writes the author Sebastian Faulks, in an exclusive extract.2 days agoBritish Broadcasting CorporationHomeNewsSportBusinessInnovationCultureArtsTravelEarthAudioVideoLiveWeatherBBC ShopBritBoxBBC in other languagesFollow BBC on:Terms of UseAbout the BBCPrivacy PolicyCookiesAccessibility HelpContact the BBCAdvertise with usDo not share or sell my infoBBC.com Help & FAQsContent IndexCopyright 2025 BBC. All rights reserved. The BBC is not responsible for the content of external sites. Read about our approach to external linking.
