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Last Update
- June 21th, 2003
Christian Bale
Goes Psycho
Rod Armstrong, www.reel.com, May 2000.
Since his
feature-film debut in The Empire of the Sun, Christian Bale has
charted an innovative path for his film career. Wisely avoiding
the typecasting that comes with teenybopper roles in insipid comedies,
Bale has played everything from a medieval prince to a young boy
infatuated with the glam-rock scene. Now he has his most daring
role yet in Mary Harron's adaptation of Bret Easton Ellis' controversial
novel American Psycho. Sporting a toned physique and a maniacal
grin, Bale will definitely turn a lot of heads as psychopath Patrick
Bateman — a role he almost lost to Leonardo DiCaprio. In this
exclusive interview, Bale discusses the nature of Bateman's psychosis,
the irrationality of American movie ratings, and his upcoming
role in John Singleton's update of Shaft.
Q:
In a recent Interview magazine you called Patrick Bateman a dweeb.
What do you think turns a dweeb into a psychopath, specifically
in Patrick's case?
Christian Bale: I have
an idea on that, but it has nothing to do with the history of
the character or anything like that because I didn't even delve
into that. It would have been too realistic an approach to Bateman,
who is not a real character. It is not that he is in any way vague
or confused at all — he is very sure of his sensibilities about
what he likes, why he likes things, what annoys him. To me it
is certainty about everything. His obsession with minute details.
His certainty that his life is pointless. That drives him crazy
because nothing has any meaning and consequently he loses any
sort of a conscience and has no limits. He can just as easily
shake your hand and smile at you and pay you a compliment or bite
your jugular out. He doesn't feel anything and that is his own
living hell.
Q:
Do you think he remains unconfused even at the end of the film?
CB: No, by the end
he is confused. He goes from this absolute sort of grip on control
and such tension that he can't bend at all. Then he breaks and
goes from one extreme to the other — to complete despair and confusion.
By the end, he has made the journey because — although he is a
character without a character — there is some sort of an arc in
that he does go from psychopath to complete psychotic by the end,
absolutely in his own world and completely confused by society.
No grasp on it whatsoever. He hasn't even been able to be arrested
and he cannot understand why and there's this whole theme of mistaken
identity, which leaves him questioning if he is even Bateman by
the end. Then there is the question of has any of this actually
happened or not and he just does not know.
Q:
Mary Harron said in Filmmaker magazine that the movie was realistic
up to a point. I would argue that the book is entirely surreal
and I just wonder how you saw the film vis-a-vis the book?
CB: Yes,
I do think it is surreal. I think the movie is very surreal as
well. We never attempted for realism. I think that Mary is just
saying that we weren't going for some sort of cartoonish exaggeration,
but there is a heightening to it. That was something that we had
to be very careful about, but which didn't become too massive
that it was entirely caricature. It had to be somewhat of a parody.
To me, the movie is very truthful to the book, to the scenes that
Mary chose to take from it. A number of people have actually accused
the movie of not being violent enough because it doesn't include
the extremely graphic violence that is in the book. It is two
different mediums. I just don't think it would have worked.
Q:
No, it distracts from Ellis' satire.
CB: Right.
That would have become purely the focus as it did for many people
with the book.
Q:
I think it is a flaw in the book as well.
CB: Right,
because it does draw attention away from the intelligence of the
piece, because so many people, they say, "American Psycho
— the rat scene!" That was what I thought American Psycho
was going to be, which is why I was so surprised when I read the
screenplay. Have you read and seen The Picture of Dorian Gray?
Q:
Yes.
CB: There
is a lot of correlation between American Psycho and Dorian Gray
and between Bateman and Dorian Gray. In the movie of Dorian Gray,
they chose to actually show this portrait. As I was reading the
book, I had the perfect image of a portrait encompassing a life
full of sin. Suddenly they show it to you in the movie and I thought
it was ridiculous, and it ruined it for me in a lot of ways, although
I think the rest of the film is great. I think the same would
have happened with American Psycho if we had shown that violence.
Q:
Let's talk about the rating issue, which is nonsense. It seems
to me that every time there is an issue about ratings, it is almost
always nonsense. It is obvious that both you and Mary Harron want
the film released without being cut. Anytime I read about something
like that I just start to believe that movies will never reach
a state of adulthood. And I wonder if that is something you just
shrug your shoulders and wince about or is it something that is
really a vital concern to you?
CB: I think
that ultimately it does have to become a vital concern. It is
people deciding for us what we are going to see or not and that
is very objectionable. I do believe that, obviously, there has
to be some form of ratings. I feel that with American Psycho probably
the controversy with the book provoked [the ratings board] into
feeling that they had to do something. It was just a matter of
"which scenes shall we pick?" I do think that the rating
system in America is very bizarre. In England, for instance, which
is the ratings I am accustomed to, the film has been given an
18.
Q:
By age, right?
CB: And that
is it. Nobody under 18 comes in. There is no stigma about it at
all. Many movies are 18. Over here, there is the bizarre notion
that NC-17 is basically pornography and many theaters will not
run it. Now what we face is the fact that American Psycho has
been transferred to an R. Hopefully not too much has been cut.
I haven't seen the R version yet. But now, kids can go see it
if they wish. A 20-year-old can take in a 10-year-old. We never
made this movie for kids. That was not the point. I don't wish
to see that happening but that is the position that the movie
is in.
Q:
It is irrational.
CB: Yes.
Q:
The other thing that struck me from the Filmmaker magazine interview
was that Mary Harron described Bateman as a Martian trying to
learn to act human but failing and killing people instead.
CB: Yes,
that is sort of how she described him to me: an alien who is trying
to understand or fit into society. It was a great description,
really, because he is so inhuman but is attempting to understand
these things called humans. Attempting to show warmth — and he
really does try, you know, but there is just nothing there at
all. He makes his confessional phone call. It is like he knows
that this will be the moment to really break down and unburden
himself and feel remorse. And it is a great representation, but
it is not genuine and he sort of puts down the phone at the end
and it is sort of like, "Well you know, it was a nice try
anyway." I think with the music and things, it is his recognition
that people seem to enjoy music and feel something for it and
so he has convinced himself that he does feel something for these
incredibly banal mainstream songs.
Q:
The one thing that crossed my mind when I read Harron's comment
is to me, Bateman — especially in Ellis' novel and even in the
movie because I think it is an accurate representation of the
book — is uniquely American in that he seems to represent kind
of a receptacle of the baser parts of materialism and capitalism
and the culture of beauty that is so much a part of America.
CB: Yes.
Q:
So I think that saying he is a Martian doesn't really get at the
Americanness of Patrick Bateman.
CB: The thing
is, yes he is an American and he is supposedly living the life
of the American dream or this incredibly charmed glamorous life.
But he is alienated because he could not fit in outside of his
own small world. He couldn't fit in in many places of Manhattan,
let alone in the rest of the country, and he is sort of quizzical
about quite how people exist down to the point of what is — I
remember in the book somebody asking what "broiled"
meant and then these characters sort of look at each other in
fear like they just have no idea of what goes on outside of their
Upper East Side lives. Greed is good, the Gordon Gekko mentality
— I suppose it is more obvious when it is associated with America,
but there are equivalents all over the place. The reason I like
to think of Bateman in that way is just because he is so inhuman
that I have to approach him with this stylized point of view and
not try to make him into too much of a fully rounded character.
There is a chasm there where there really is just wind blowing
through and there is nothing present.
Q:
And it would be kind of terrifying to think of him as anything
other than that.
CB: Yes, thinking that
somebody like him could really exist.
Q:
There was another article I read referring to the offer on the
movie's Web site where it says that you can receive e-mail from
Bateman. That seems to disturbingly feed the people who are really
devoted to the book in a way that gives you chills.
CB: Right. I haven't
actually seen those but yes, I do hear that it is quite disturbing.
I spoke with those responsible and said that I wanted to make
it very clear that it is not me responding on those e-mails because
some people seemed to think it was.
Q:
It seems like kind of a tacky marketing technique.
CB: Yes. I feel like
it could become somewhat misleading. Obviously, I support the
movie entirely and want to help it, but I don't want people to
be going in thinking that they are going to see one thing and
find something else. This isn't Scream.
Q:
Thank God it's not! Is Patrick one of your screen roles that you
are most proud of?
CB: Yes. I mean, partly
because there is much more involvement when you are playing the
title character. And also, just because I felt so immersed in
this whole movie because I was on board so early, before there
was any money or anything at all. And he was such a great character
to play and unlike anything I ever played before. The set was
such a good-natured set and everybody was really collaborative
and worked excellently together. So yes, I've got really fond
memories of it and there was a lot of laughter in making this
movie.
Q:
I assume there was same major bonding when you overcame the little
Leonardo hurdle?
CB: Yes. It took awhile
but we did triumph in the end.
Q:
You just completed work on the Shaft movie with John Singleton.
How was that?
CB: It was
quite an experience coming off of American Psycho and going directly
to Shaft and witnessing the difference when there is a huge amount
of money involved in a movie. Obviously I was not nearly as involved
in Shaft as I was with American Psycho just because of the nature
of my character. There was a certain amount of relations and things
which I just sort of felt, "Right, I am not going to get
involved in this because it is going to be distracting."
All the ingredients are there to really make something great.
I mean, Sam Jackson is great and there are really good actors.
Toni Collette and Jeffrey Wright are in it. I do hope that it
all works out. I have a number of journalists who said they spoke
with Sam Jackson and heard that he wasn't entirely pleased with
the whole experience. For me, it was like a big action movie,
unlike anything I have ever done, and I really did want to enjoy
it so I made sure that that did happen for myself.
Q:
The one thing you were saying about money ties back into American
Psycho in a way because when so much money is involved, corruption
can often happen.
CB: Well,
people are just very, very afraid to take risks because suddenly
it becomes all about purely the investment rather than the creative
point of view so that is where the danger can kick in.
Source -
www.reel.com