Over a hundred guests gathered Tuesday night, October 30, 2007, at Sugar Bar/Lounge in New York City for a preview event featuring two of the thirteen variations of Psychodrama, Melissa Grey's experiment with audiovisual interaction and audience perception.
Over the past month, Melissa Grey's living room has been transformed into a working studio, the new home for further developments on Psychodrama. Unfamiliar with how a composer works, I was surprised but pleased to find out that Grey’s process is akin to the perfectionism for which Alfred Hitchcock became so famous. All the elements that she puts into Psychodrama, even at this early pre-production stage, are carefully considered, right down to her hand-drawn sketches.
Any horror filmmaker today has learned a thing or two from the Master of Suspense, Alfred Hitchcock. A cinematic trailblazer with an eye for blonds, a cameo-making compulsion, and a sadistic interest in fear, Hitchcock created the quintessential horror film in his 1960 thriller, Psycho. It boldly has everything from early Hollywood nudity, to transvestisism, to death disguised as taxidermy, and a brilliantly terrifying musical score by long-time collaborator Bernard Herrmann. Psycho, and particularly its score, is the backdrop for composer Melissa Grey's current project, Psychodrama.
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