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- June 21th, 2003
American Psycho's
Christian Bale reveals the method to his madness
Tim Wassberg, The Inside Reel, 2000.
In the first frame
of American Psycho red paint streaks across a white canvas, and
I was sure that the film was going to be too self-conscious to
be enjoyable. But it is exactly that kind of self-absorption that
makes the character of Patrick Bateman so intriguing. He kills
with abandon, and believes that he will never get caught.
At the press screening,
a lot of critics walked out because the violence was so in your
face, yet the young crowd I saw it with on opening night, seemed
to connect with the psycho.
And Christian Bale
as the charming but totally crazy, Bateman is a slicing presence.
Sitting across from me at the Le Meridien Hotel in Beverly Hills,
Bale is relaxed and pleasant (and has a British accent!), a stark
contrast to his on-screen character: For the movie, he had his
teeth wired to make them look absolutely perfect. He worked out
to the point of collapse to make himself look like the ultimate
Dionysus of Death. Now Bale talks to Tag about Huey Lewis, Hitchcock
and the art of being an ax murderer.
Wassberg:Who
is Patrick Bateman really?
Bale:I think "really"
that he could never exist. I never viewed him as a real person.
I never went into motivation of why he would be like this. He
describes himself as an abstraction and that's the way that I
played him as well. He is just someone that could not exist. Bret
Easton Ellis looked at these very privileged, educated young men
in Manhattan in the 80s behaving badly and asked himself, "How
far would they go?" "How much can they get away with?"
"Can they get away with murder?" Then Patrick Bateman
arrives.
W:
American Psycho seems very Hitchcockian to me.
B: Director
Mary Harron is a great fan of Hitchcock. She had me watch a few
Hitchcock movies to sort of show me what style she was going for...and
the movie does get very surreal. Bateman doesn't even knowing
if he's Bateman by the end. Bateman goes from a psychopath to
a complete psychotic in his own world, absolutely out of touch,
by the end of the movie.
W:
Music seems to be important for Bateman.
B: The music
is really used as a tool to lead-up to mayhem. There are these
very mainstream songs which Bateman just adores. I always viewed
it as though he recognized that humans seems to get some kind
of warmth from this thing called music and he'd better just do
the same to show that he's human as well. But then he, rather
bizarrely, goes out and picks the blandest numbers you can come
across. He genuinely feels some soulful nourishment or joy from
"Hip To Be Square" by Huey Lewis or a Whitney Houston
Song.
W:
For Bateman it seems that pulling back a strand of hair is no
different than stabbing a woman through the heart.
B: He has
absolutely no conscience. No feeling about what he does. He wishes
he would have. He knows the appropriate moments when he should
be feeling remorse. He never really feels any guilt. So he realizes
that he has no limits at all because he feels nothing for what
he does. He could just as easily pay somebody a compliment and
be incredibly nice or take their head off with an ax--it really
wouldn't make any difference to him.
Source - www.tagmag.com