Press
Last Update
- June 21th, 2003
Making Bale
Actor Christian Bale discusses his career,
and his role in the film 'American Psycho'
Elizabeth Weitzman, Interview, April, 2000.
There's been
so much talk about the American Psycho ratings-board controversy--the
sex, the drugs--that we're in danger of losing the real news:
The hilarious, terrifying performance of Christian Bale.
When you
play a character as reviled as Patrick Bateman, the protagonist
(hero is not the right word) of American Psycho, you automatically
take up residence in the center of a storm. And so, while Christian
Bale has seen his quarter-hour come and go with each new film
over the last decade, the spotlight is currently shining even
brighter than usual. First came the initial shock: that feminist
director Mary Harron (I Shot Andy Warhol, 1996) was adapting Bret
Easton Ellis's novel, infamous for Its fetishistically violent
caricature of '80s vapidity. Then Bale and Harron were temporarily
ousted from the project when Leonardo DICaprio decided he'd make
a great Bateman. Finally, the MPAA took objection not to the freeflowing
blood but a single, satirical sex scene, forcing Harron to reedit
the film to avoid a deadly NC-17 rating.
Granted,
there's been hype swirling around Bale for a longtime. His film
debut was as big as it gets--especially for a thirteen-year-old
kid from Bournemouth, England--when he was chosen as the lead
in Steven Spielberg's Empire of the Sun (1987). Every few years
since, from the wholesome Little Women (1994) to the fulsome Velvet
Gold-mine (1998), tastemakers have declared him this close to
celestial heights. Now he's reached his destination, due less
to any controversy than to a dazzling, gleefully charismatic performance:
He altemates Bateman's mild and malevolent masks as easily as
the character shrugs himself into Cerruti suits. One of the running
Jokes in the film is that no one can remember Bateman's name.
Thanks to him, no one's likely to forget Bale's.
Elizabeth
Weitzman: How do you even begin to approach a character like Patrick
Bateman?
Christian
Bale: The general concept in acting is that you try to hide the
fact that you're giving a performance. But Bateman is constantly
performing. He really has no sense of self except for a complete
lack of self. A lot of other actors had come in and tried to make
him really real, tried to plug into the mind of a murderer. But
I always felt that he was based on this ridiculous exaggeration
that Bret got partly from that yuppie killer, Robert Chambers,
but also from looking at people in ... well, the back of Interview
magazine.
EW:
[laughs] Care to explain?
CB: People
who other people might look at and think they want to emulate,
people who supposedly live this charmed life. Guys who look great,
work out, and seem to have lots of money at a ridiculously early
age. But what the hell is underneath it all? What if there's nothing
underneath, if they're just desperate men trying to feel something?
I never approached Patrick Bateman as though the first thing about
him is that he's a serial killer. The first thing is that he's
a symbol of the excesses of the '80s, of capitalism with no trace
of ethics or spiritualism.
EW:
Is this a movie that's also about the current era?
CB: I think
it's absolutely relevant to today, although now things are a lot
quieter. Some of the guys I spoke to when I was researching the
movie told me that it's still their mission to put their whole
lives on hold for ten years just to go crazy earning money. But
the difference between Bateman and most of the Wall Street types
is that those guys actually do work their asses off. Whether people
consider it to be fair that they make so much money, they do generally
put in bloody eighteen-hour days.
EW:
Do you see the '80s repeating itself now?
CB: I was
sixteen in 1990, living in a little seaside town in England with
no sense of this '80s world that I've lived in American Psycho.
Frankly, I'm not really qualified to be talking about the state
of the '80s in America.
EW:
From your performance, it appears that you know an awful lot about
it.
CB: I didn't
really need anything but the book. It's so richly detailed, there
was enough for me to base my entire performance upon. The rest
of the research was out of curiosity. I also saw movies that Mary
asked me to watch: some Alfred Hitchcock, a couple of Roman Polanskis.
But just for the styling. She wanted to make sure we were on the
same track as to how she envisioned the movie.
EW:
Was Psycho [1960] one of the movies you watched?
CB: No. Obviously
there is reference to it, down to [the character] being called
Bateman, but the story that I found a closer parallel to was [Oscar
Wilde's] The Picture of Dorian Gray [1891], which is very much
like American Psycho.
EW:
What parallels do you see there?
CB: The obsessive
vanity of the character, his complete embrace of amorality, the
indulgence and excess of his companions, and the apparent absolute
enjoyment of glamour belying the complete bleakness and despair
underneath it all.
EW:
The ratings board asked Mary to cut a scene that's very much about
vanity--when Patrick watches himself in the mirror while having
sex with two women. Do you think it should be sacrificed for an
R rating?
CB: I don't
know that there's a complete movie without that scene. It would
be a big, gaping hole. I understand that the powers that be do
really want an R. I hope that's not because they're saying, "Oh,
we want kids to go see this," because I never made it for
young kids to see.
EW:
Would you be upset if kids went to see it?
CB: I wouldn't
be upset because I know that I absolutely could have seen it at
that age and been fine. But generally, this isn't a kid's movie.
I would question it if I saw a family heading off to see American
Psycho together. But apparently the main problem is that many
theaters just won't release NC-17 movies and many newspapers won't
advertise them. They intend to release it in about 900 theaters,
and an NC-17 rating would drop it to about 100.
EW:
Which would you prefer--to have that scene cut and then open in
900 theaters or leave it intact and be in 100 theaters?
CB: [laughs]
I don't know. Whilst I know this movie isn't going to set the
malls on fire, I would love it if as many people went to see it
as possible. But I think it is such a funny scene. So you've sort
of got me there.
EW:
Although it's toned down considerably from the book, there is
some very graphic violence in the film. Are they going to have
to cut that as well?
CB: No, it's
just the sex scene. Kind of ironic, isn't it? Not that I think
the violence in the movie should be cut. I find it totally tolerable.
You know what I want? That it goes out as the NC-17 version full-on.
Put in more scenes. What the hell, you know? Have it in 100 theaters
and have every theater be sold out and word-of-mouth grows so
much that the chains just can't resist putting it in extra theaters.
EW:
The Scream movies played in thousands of theaters, and I don't
know that they're any less graphic.
CB: There
seems to be some weird judgment whereupon big mainstream movies
can be incredibly violent and nobody seems to care. I guess what
it comes down to is the formula, which American Psycho is missing.
There is no punishment for Patrick except his own existence, whereas
in most of those movies there's a definite hero and the bad guy
gets his comeuppance and everything ends happily, no matter how
gory it's been.
EW:
Were you shocked by the book's violence when you first read it?
CB: I read
the script first, and I was biased against it. I wasn't interested
in the idea of a gritty analysis of a killer, with the lead actor
looking like he's won the character role of a lifetime, in which
he can show what a bad boy he really is. I thought, "Oh God,
I don't want to read this," sat down, and found it hilarious.
Then I read the book. I thought Bret managed so well to get that
real guilty laughter, the straight-out humor and then the extreme
horror and repulsion. But I do appreciate that it's not everybody's
cup of tea.
EW:
When you're playing a character that's so heinous, do you have
to find a way to like him somehow?
CB: There
isn't anything to like about him at all. I certainly liked performing
him, but it was because he thinks he's so fucking cool and just
the shit, but is really such a cheesy dork.
EW:
Were you ever freaked out by him?
CB: I never
was. I could completely switch him off at the end of the day.
I slept very well. However, when I played Jesus [in last year's
TV movie Mary Mother of Jesus], I had nightmares constantly. I
had dreams of blood dripping from the ceiling and my palms.
EW:
Why?
CB: I don't
know exactly, you'd have to explore my psyche. [laughs] With Bateman,
there was never any feeling of playing a real character, so he
didn't linger at all. With Jesus, there are so many expectations.
EW:
You certainly committed to Bateman physically. How do you feel
about the new, pumped-up you?
CB: I'd be
lying if I said I didn't get affected by it slightly. But I swear,
the bigger your muscles get, the duller you are. You become fascinated
with carbs and protein and ripped abs and things that are just
not interesting at all. I've maintained the fitness aspect, but
with Bateman it's all about the aesthetics. He's out snorting
coke all night, doing shots, and then getting up and doing his
aerobics.
EW:
There's been a lot of talk lately about the unsteady state of
masculinity at the dawn of the century. First there was Fight
Club, then Boiler Room, and now your movie. Is there something
in the air right now?
CB: Images
of masculinity seem to have altered quite a bit. There's a cultural
celebration of boyishness, rather than manliness, going on, if
you look at a lot of the male models and at what I was striving
for in American Psycho. I mean, you really can't imagine Robert
Mitchum--or any man's man--counting his calories!
EW:
It seems appropriate here to ask you how you felt about nearly
being replaced by Leonardo DiCaprio.
CB: For better
or worse, I became much more business-savvy because of that whole
experience. Up until that point it had been a simple, happy process
with a director and the actor she felt fit the part best. And
then suddenly, this business monster reared its head. The creative
side absolutely wanted me and the financial side didn't.
EW:
You've been acting for fifteen years. Did you ever doubt that
this is what you want to do with your life?
CB: Oh, absolutely,
yeah.
EW:
When was the last time?
CB: About
three hours ago.
COPYRIGHT
2000 Brant Publications, Inc.
COPYRIGHT 2000 Gale Group
Source - www.findarticles.com