On the last day of filming, May 31, the filmmakers invited press to a location in downtown Los Angeles where the 1960 opening of “Psycho” was being staged – complete with marquee and original movie posters - at the vintage Palace Theater on Broadway. Lines of folks in fedoras and pillbox hats and other natty fashions of the era queued up in the ticket line and gawked as a vintage Rolls Royce pulled up. Out got Hopkins as the well-dressed film impresario, his convex body shape and jowly profile unmistakable, his arm slung protectively around Mirren.
The refurbished 1911 vaudeville theater he entered was standing in for the DeMille Theater in Manhattan, one of two movie houses where “Psycho” actually premiered in an opening Hitch had to finance on his own dime. Hopkins, who keeps admirably fit, wore a 60-pound stomach pad. The night before, the producers said, he’d filmed one of his key scenes, in which (out of sequence) he watches the reaction of the audience while the movie unspools and realizes, to his enormous relief, that his late-in-life gamble has succeeded. “He brings such vulnerability and loneliness and humanity to this,” says Thayer of Hopkins’ performance.
Industry watchers will be intrigued to see that Hitch’s agent, the late Lew Wasserman, who was a notorious avoider of publicity, has a significant role in the film. “He was there to support his client whether he believed in the project or not,” said Michael Stuhlbarg (“A Serious Man,” “Lincoln”) who portrays the uber-agent whose MCA eventually took over Universal.
The production also has a coup in its casting of James D’Arcy as Tony Perkins, since his resemblance and uncanny impression of the gangly actor who played Norman Bates are so persuasive, that Hopkins, he said, “burst out laughing” during his audition and said, “Why are we looking at anyone else?”
“Nowadays,” said D’Arcy, “we expect the nice guy to turn out to be a psychotic lunatic at the end. But in 1960, nobody did – and that’s what made it so shocking.”