“I saw Bateman as kind of a buffoon” – Mary… | Little White Lies

I saw Bate­man as kind of a buf­foon” – Mary Har­ron on Amer­i­can Psy­cho at 20

14 Apr 2020

Words by Simon Bland

Three people in a photography studio, one holding a camera and speaking to the others.
Three people in a photography studio, one holding a camera and speaking to the others.
The direc­tor reflects on the cre­ation of one of cinema’s endur­ing mon­sters, Patrick Bateman.

The one thing you couldn’t do was think Bate­man was in any way cool,” direc­tor Mary Har­ron tells LWLies, dis­cussing the mak­ing of her sem­i­nal psy­cho­log­i­cal thriller Amer­i­can Psy­cho. It was two decades ago this month that audi­ences were intro­duced to Chris­t­ian Bale’s grin­ning ter­ror, lift­ed from Bret Eas­t­on Ellis’ scabrous satire of 80s cap­i­tal­ist greed and tox­ic masculinity.

Just four years ear­li­er, Har­ron was lost in the life of rad­i­cal fem­i­nist Valerie Solanas and her quest to kill an icon­ic artist in 1996’s I Shot Andy Warhol. Cut to 2000 and she was back on con­tro­ver­sial ground, this time switch­ing gears to exam­ine unchecked male rage through a much-need­ed a female lens. But while Amer­i­can Psycho’s appeal has endured, accord­ing to Har­ron, Bateman’s fate was nev­er clear.

I knew the mate­r­i­al was so strong and con­tro­ver­sial there was no way to do any­thing safe with it,” says Har­ron. The dan­ger fac­tor appealed to me. I also felt that the book had been mis­un­der­stood. When I start­ed read­ing it I thought Oh, this is actu­al­ly real­ly fun­ny.’ Obvi­ous­ly there’s extreme vio­lence in it – but there’s also a satir­i­cal side that no one was talk­ing about. I felt like the best parts had been over­looked. I had no idea whether it would work as a movie but I told the pro­duc­er, If you pay me to write a script, I’ll have a go.’”

With the com­mis­sion secured, Har­ron began adapt­ing Ellis’ text with her writ­ing part­ner Guin­e­vere Turn­er. One of their aims was to bring out more of the humour. One thing I liked about the nov­el,” Har­ron remem­bers, was the way it pre­sent­ed the char­ac­ter; there were a lot of scenes where he was kind of a buf­foon. The book does cri­tique male behav­iour, but when Guin­e­vere and I were read­ing those scenes we were like, Okay, that’s enough of that.’ A lit­tle goes a long way.

Har­ron con­tin­ues, Bret him­self is gay and it was obvi­ous to us that he was not pre­sent­ing a tra­di­tion­al expres­sion of mas­culin­i­ty. He was offer­ing an out­sider cri­tique of it, just as we were. In that way I think we all had the same sen­si­bil­i­ty. Maybe Bret found Bate­man to be cool­er than we did. Some­times there’s self-iden­ti­fi­ca­tion in the book, some­times he’s being satir­i­cal. That makes Bate­man very slip­pery, com­pli­cat­ed and interesting.”

Christian Bales physical preparation was beyond what I expected

One tweak Har­ron and Turn­er made was the addi­tion of Willem Dafoe’s Detec­tive Don­ald Kim­ball, who not only added ten­sion but ensured that view­ers were left ambushed by the chill­ing dis­par­i­ty of Bateman’s world. I want­ed to go from a scene of social satire – Bate­man and his fiancé at lunch, where it’s fun­ny – to some­thing extreme­ly hor­rif­i­cal­ly vio­lent and there’s no prepa­ra­tion for it,” Har­ron reflects. I want­ed to cap­ture that sense of lurch­ing back and forth between these day­time and night­time worlds.”

Then dis­as­ter struck. Despite Bale being Harron’s first choice for Bate­man, pro­duc­tion was placed on hold when a fresh-from-Titan­ic Leonar­do DiCaprio expressed an inter­est in the role. I didn’t agree with that,” says Har­ron, part­ly because he was such a big star but also because he had a teenage girl fan­base. I just didn’t think he was right for it – so I was fired from the movie for a while.” It was only when DiCaprio’s Oliv­er Stone-helmed vision for Amer­i­can Psy­cho fell apart that Har­ron was rehired. They couldn’t agree on the script, so they brought me back and I was able to cast Christian.”

From that point on, Bale threw him­self head first into the role, becom­ing Patrick Bate­man before Harron’seyes. His phys­i­cal prepa­ra­tion was beyond what I expect­ed,” she admits. I thought he might have to vis­it the gym, because Bate­man works out, but he went through a com­plete phys­i­cal trans­for­ma­tion. He only ate grilled chicken.”

Two men, one in a shirt and tie, the other in casual clothing, standing in what appears to be a film or television studio with equipment visible.

Har­ron also reveals that she saw Bate­man as some­one stripped down to their pri­mal urges. It’s more like a mon­ster movie; you have some­one who is almost a deformed human being, who doesn’t have nor­mal instincts and is filled with ter­ror and rage. How do they oper­ate in the world? It was almost like some­one from anoth­er plan­et try­ing to fit in on Earth. We talked about it from that point of view.”

Using this as their start­ing point, Har­ron and Bale con­struct­ed their por­trait of a ser­i­al killer bit by bit, while still leav­ing room for impro­vi­sa­tion. I remem­ber Chris­t­ian say­ing, I think I’m going to Moon­walk’,” says Har­ron, refer­ring to one the film’s most mem­o­rable scenes, the death of Bateman’s rival Paul Allen, played by a yup­pied-up Jared Leto. Set to the upbeat Huey Lewis and the News hit Hip to Be Square’, this sequence brings anoth­er key aspect of the film to the fore: its iron­i­cal­ly pep­py soundtrack.

It was real­ly hard to get the rights for the music,” says Har­ron, because we couldn’t find any­thing that worked as well as the music men­tioned in the book. It had to be glossy, main­stream pop. The more hap­py the music was, the bet­ter it worked. Walk­ing on Sun­shine’ worked real­ly well when Bate­man is walk­ing into his office. It had to be Amer­i­can and it had to be upbeat.”

Despite its rep­u­ta­tion today, Amer­i­can Psy­cho ini­tial­ly divid­ed opin­ion. Peo­ple didn’t know how to take it,” Har­ron recalls. We did test screen­ings and it split peo­ple down the mid­dle; it inspired very strong reac­tions.” Com­ing off the back of the more overt­ly fem­i­nist I Shot Andy Warhol, some view­ers saw Harron’s lat­est as con­tra­dic­to­ry, based pure­ly on Bateman’s treat­ment of his (often female) victims.

Very quick­ly, the film’s vio­lence over­shad­owed any nuance in the sto­ry that Har­ron had hoped to high­light. There’s real­ly not a great deal of vio­lence in it, but every­one was so out­raged. Peo­ple didn’t know when it was sup­posed to be fun­ny, when it was okay to laugh. They thought it was just a vio­lent slash­er. I thought Chris­t­ian would get nom­i­nat­ed for some­thing because his per­for­mance was so great but it didn’t hap­pen. In a lot of ways it launched him into a new phase of his career, but the real dis­cov­ery of the film hap­pened gradually.”

Since its ini­tial release, Amer­i­can Psy­cho has seeped its way into pop-cul­ture, more recent­ly birthing a wave of tongue-in-cheek memes. In many ways, it feels more rel­e­vant now than ever. The whole Bate­man atti­tude of Wall Street and the one per cent – the injus­tice today seems much worse,” sug­gests Har­ron. When­ev­er I film a TV show, some­body always comes up and tells me how much they loved Amer­i­can Psy­cho. I’m sur­prised by the inten­si­ty of people’s reac­tion to it. Peo­ple tell me they’ve seen it 30 times – I haven’t even seen it 30 times! It seems to have touched a nerve, and it’s nice that peo­ple are still watch­ing it.”

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