The "Prelude" serves as the primary leitmotif for the film's sense of urgency and flight, appearing most often when characters are escaping in cars.
: Alfred Hitchcock initially wanted the motel scenes to be silent, but Herrmann’s music was so effective that Hitchcock nearly doubled his salary.
: The "Prelude" establishes the film's two-part structure, preparing the audience for a shift from Marion’s crime-driven narrative to Norman’s psychological horror.
: The piece is driven by intense ostinati (short, repeating rhythmic patterns) and harsh, driving accents that evoke a feeling of anxiety and inescapable fate.
