User:TheJoebro64/drafts/AmericanPsycho

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American Psycho
Directed byMary Harron
Screenplay by
Based onAmerican Psycho
by Bret Easton Ellis
Produced by
Starring
CinematographyAndrzej Sekuła
Edited byAndrew Marcus
Music byJohn Cale
Production
companies
Distributed by
Release dates
  • January 21, 2000 (2000-01-21) (Sundance)
  • April 14, 2000 (2000-04-14) (United States)
Running time
102 minutes
Countries
  • United States
  • Canada
LanguageEnglish
Budget$7 million
Box office$34.3 million

American Psycho is a 2000 independent horror film directed by Mary Harron, who wrote the script with Guinevere Turner. It stars Christian Bale, Willem Dafoe, Jared Leto, Josh Lucas, Chloë Sevigny, Samantha Mathis, Cara Seymour, Justin Theroux, and Reese Witherspoon. Based on Bret Easton Ellis' 1991 novel American Psycho, the film follows Patrick Bateman (Bale), a New York City investment banker who leads a double life as a serial killer. The satirical film blends horror and black comedy to mock 1980s yuppie culture and consumerism, exemplified by Bateman.

Ellis considered his controversial novel potentially unfilmable, but producer Edward R. Pressman was determined to adapt it and bought the film rights in 1992. Several filmmakers considered directing before Harron and Turner began writing the screenplay in 1996. They sought to make a 1980s period film that emphasized the novel's satire and excised most of the violence. The pre-production period was tumultuous; Harron chose Bale to play Bateman, but distributor Lions Gate Films was so adamant to cast Leonardo DiCaprio—then considered the world's biggest actor—that it fired and replaced her with Oliver Stone. After Stone and DiCaprio left due to creative differences, Harron was rehired and Lions Gate begrudgingly let her cast Bale. Principal photography began in February 1999 in Toronto and New York City with a $7 million budget.

Like the novel, American Psycho generated controversy before its release due to its graphic depiction of violence against women. It premiered at the Sundance Film Festival on January 21, 2000, and was released theatrically on April 14, 2000. The film grossed $34.3 million worldwide but polarized critics. While some praised the writing and Bale's performance, others criticized it as excessively violent and were divided over whether its satire was successful. Ellis expressed mixed opinions, feeling the adaptation was unnecessary but helped clarify his satiric intent. American Psycho heralded Bale's transition from a child actor to a leading man; he became one of the world's most popular and highest-paid actors in subsequent years, starring in high-profile films including Christopher Nolan's The Dark Knight Trilogy (2005–2012).

In the subsequent years, American Psycho developed a cult following and has been reappraised as one of the greatest horror films of the 21st century. Retrospective reviewers consider American Psycho a rare adaptation that is better than its source material and the social satire ahead of its time. The film exerted considerable influence over popular culture, inspiring internet memes, homages, and parodies. A direct-to-video sequel, American Psycho 2, was released in 2002, although it has little relation to the original and was denounced by Ellis before its release.

Plot[edit]

In 1987, Patrick Bateman, a wealthy New York City investment banker, spends most of his time dining at popular restaurants while keeping up appearances for his fiancée Evelyn Williams and his circle of wealthy associates, most of whom he hates. At a business meeting, Bateman and his associates flaunt their business cards. Enraged by the superiority of his colleague Paul Allen's card, Bateman kills a homeless man. Bateman and Allen, who mistakes Bateman for another coworker, make plans for dinner after a Christmas party. Bateman resents Allen for his affluent lifestyle and ability to obtain reservations at an exclusive restaurant that Bateman is unable to get into. Bateman manipulates Allen into getting drunk, kills him, and leaves a phony message on Allen's answering machine claiming that Allen has gone on a business trip to London.

After private investigator Donald Kimball interviews Bateman regarding Allen's disappearance, Bateman takes two prostitutes, Christie and Sabrina, to his apartment, where they have sex before he abuses them. Bateman's colleague Luis Carruthers reveals a new business card, so Bateman tries to strangle him in the restroom of an expensive restaurant. Carruthers mistakes the attempt for a sexual advance and declares his love for Bateman, who panics and flees. After murdering a model, Bateman invites his secretary Jean to dinner, suggesting that she meet him at his apartment for drinks. Bateman plans to kill her with a nail gun, but desists after he receives a message from Williams on his answering machine.

Kimball meets Bateman for lunch and tells him he is not a suspect in Allen's disappearance. He reveals that a colleague of Bateman's claims to have spotted Allen in London, calling the investigation into question. Bateman is relieved, but becomes perturbed and begins to doubt himself. Bateman brings Christie to Allen's apartment where he drugs his acquaintance Elizabeth before having sex with her and Christie. After Bateman kills Elizabeth, Christie runs, discovering multiple female corpses as she searches for an exit. Bateman chases her and drops a chainsaw on her as she flees down a staircase. Afterwards, Bateman breaks off his engagement with Williams.

As Bateman uses an ATM, he sees a cat. The ATM displays the text "feed me a stray cat", so he prepares to shoot the cat. When a woman confronts him, he shoots her. A police chase ensues, but Bateman kills the officers and blows up a police car. Bateman kills two more people before hiding in his office. He calls his lawyer Harold Carnes and frantically leaves a confession, claiming to have killed 20–40 people. The following morning, Bateman visits Allen's apartment to clean up Allen's remains, but finds it vacant and for sale. The realtor tells him that the apartment does not belong to Allen before ordering him to leave. Bateman again meets Kimball, who assures him that several witnesses saw Allen in London.

While Bateman goes to meet with his colleagues for lunch, Jean finds detailed drawings of murder and mutilation in Bateman's office journal. Bateman sees Carnes and mentions the phone message. Carnes mistakes Bateman for another colleague and laughs off the confession as a joke. Bateman clarifies who he is and again confesses the murders, but Carnes says his claims are impossible since he recently had dinner with Allen in London. A confused Bateman returns to his friends; they muse whether Ronald Reagan is a harmless old man or hidden psychopath before discussing their dinner reservations. Bateman, unsure if his crimes were imaginary, realizes he will never receive the punishment he desires.

Cast[edit]

A photograph of Christian Bale
A photograph of Willem Dafoe
A photograph of Jared Leto
(Left to right) Christian Bale, Willem Dafoe (both pictured in 2019), and Jared Leto (2016)

Bateman's circle of colleagues includes Josh Lucas as Craig McDermott, Matt Ross as Luis Carruthers, Bill Sage as David Van Patten, Justin Theroux as Timothy Bryce, and Anthony Lemke as Marcus Halberstram. Stephen Bogaert portrays Harold Carnes, Bateman's lawyer, while Samantha Mathis portrays Courtney Rawlinson, Carruthers' fiancée who is having an affair with Bateman.

Other cast members include: Krista Sutton and Cara Seymour as the prostitutes Sabrina and Christie; Guinevere Turner as Elizabeth, a woman who Bateman kills; Reg E. Cathey as Al, a homeless man; Catherine Black as Vanden, Williams' cousin; and Patricia Gage as Mrs. Wolfe, a real estate agent. Former US president Ronald Reagan appears in archive footage of his 1987 address concerning the Iran–Contra affair.

Production[edit]

Early development[edit]

Bret Easton Ellis, who wrote the American Psycho novel and early drafts of the adaptation, in 2010

The film is an adaptation of the satirical novel American Psycho by Bret Easton Ellis, which was published in 1991 amid significant controversy over its graphic depiction of violence against women. Ellis had been disappointed by the 1987 adaptation of his first novel, Less Than Zero (1985), and did not expect that anyone would be interested in adapting American Psycho, which he considered possibly unfilmable.[1] Nonetheless, development of a film adaptation began in 1992, after Johnny Depp expressed interest and producer Edward R. Pressman bought the film rights.[2] Pressman, to Ellis' surprise, was "obsessed" with turning American Psycho into a film.[3] Ellis discussed the project with filmmaker Stuart Gordon but felt that he was unsuitable.[4]

David Cronenberg and Brad Pitt respectively became attached to direct and star, and Ellis was brought on to write the screenplay. The process was difficult for Ellis; Cronenberg did not want to use any of the restaurant or nightclub material from the novel (which he considered boring), wanted to excise the violence, and mandated that the script be 65–70 pages. Ellis considered Cronenberg's directions "insane" and ignored them.[4][5] Ellis' draft departed significantly from the novel, as he had "been living with it for, like, three and a half years, four years" and had grown bored with it.[4] It ended with an elaborate musical sequence to Barry Manilow's "Daybreak" atop the World Trade Center, a change which Ellis felt exemplified how bored he was with the material.[4]

The development was prolonged due to what Variety called American Psycho's "literary complexity", which made adapting it to film difficult.[6] Cronenberg was dissatisfied with Ellis' draft and by March 1994 had sought a new draft from Norman Snider;[5][7] Ellis later recalled that Cronenberg left the project after he disliked Snider's draft even more.[5] Ellis wrote another draft for Rob Weiss in 1995, but the film again failed to materialize.[5] Pressman did not want to make a film that would offend people and described Ellis' draft as "completely pornographic".[2] Pressman appeared at the 1996 Cannes Film Festival to pre-sell the distribution rights to no avail.[8]

Development under Mary Harron[edit]

After her film I Shot Andy Warhol premiered at the 49th Cannes Film Festival to positive reviews in January 1996, Mary Harron received call from Roberta Hanley—who operated the production company which held the American Psycho film rights—with an offer to direct the film.[9][3] Harron had attempted to read the novel when it was originally published, but found it too violent.[1] However, rereading it, she realized that "just enough time ha[d] passed" to produce a period film set in the 1980s, "bring out the satire", and comment on the era, which interested her.[1][9] Harron was ambivalent towards the other "very mainstream and boring" offers she was receiving following I Shot Andy Warhol and decided to make American Psycho due to its "risky" nature.[9]

Co-writer Guinevere Turner in 2006

Harron read the existing drafts; while she somewhat enjoyed Ellis', she felt that most were too moralistic, missing the novel's preciseness in depicting social privilege.[9] Harron told Pressman that she would only join the project if she could write her own screenplay.[1] Pressman commented that out of all the directors who attached themselves to American Psycho, Harron was "the only person who actually ever conveyed a clear solution as to how to do it".[2] Harron recruited Guinevere Turner, who she had been working with on what would become The Notorious Bettie Page (2005), to co-write. Turner was not a horror fan and had never heard of American Psycho, but Harron convinced her that it would be a good project to pursue. Though she found the novel unsavory, Turner appreciated its blend of humor and horror and concluded that "with the right spin it could be a really subversive, feminist movie".[1]

Harron and Turner excised most of the novel's violence outside four sequences of Bateman's murders.[10] Their approach to the material and Bateman's character was influenced by Mario Bava's giallo film Hatchet for the Honeymoon (1970), with Bava historian Tim Lucas noting that both films feature protagonists motivated by a desire for self-discovery in their killings.[11] Harron recalled facing scrutiny for depicting Bateman as homophobic—a criticism she found odd, since no objections were raised over his murders. She also received requests to delve into Bateman's psychology, but said that "having a very clear psychological explanation [wasn't] of great interest to me" since she found the concept generic, shallow, and unrealistic.[9] Harron rejected suggestions to explore Bateman's family and background; she felt it was unnecessary and that Bateman was simply "a monster".[9]

Harron met with several actors for the role of Patrick Bateman but struggled to find a suitable candidate. She noted that "if someone isn't 100 percent on a role like [Bateman], you can't cast them and they shouldn't do it."[9] Billy Crudup was attached to the role for a month and a half,[1] but was uneasy and left the project.[9] Turner appreciated Crudup's honesty in admitting he could not understand the character. Harron sent the script to Christian Bale,[1] but he had never read American Psycho and thus had no interest.[10] Harron contacted Christine Vachon, who was working with Bale on Velvet Goldmine (1998) at the time, and Vachon told him to read the script.[1] Bale found the script humorous and immediately became interested, and flew to New York to audition in Harron's living room.[1][9][10]

Bale struggled to speak in an American accent since he had been speaking in a Manchester accent for Velvet Goldmine, but Harron thought it was clear he understood the role.[9] Like Harron, Bale was uninterested in Bateman's backstory; he saw the character as "an alien who landed in the unabashedly capitalist New York of the '80s".[1] Bale, in contrast to the other actors Harron had spoken to, did not find Bateman admirable and Harron felt he was the only one who fit the role.[1] Harron thought casting Bale, a relative unknown, was risky but "had a lot of faith in him", as Velvet Goldmine director Todd Haynes told her that Bale was "the best actor I've ever worked with."[1] Harron and Bale, in-character as Bateman, met with Ellis for dinner, an experience Ellis said was "unnerving" since it was the first time he had met "someone pretending to be this monster that I created".[3]

Pre-production and casting[edit]

A photograph of Leonardo DiCaprio attending a press conference for The Beach.
Leonardo DiCaprio (pictured in 2000). Director Mary Harron was temporarily fired after Lions Gate cast DiCaprio as Patrick Bateman against her wishes.

Lions Gate Films acquired the American Psycho distribution rights in May 1998 and set a budget of $10 million. Harron and Bale were planning to begin filming the following August and though no actors were signed on yet, Willem Dafoe and Jared Leto had expressed interest in joining.[6][12] Harron suggested that the slim Bale go to a gym since Bateman frequently exercises; she said that within two weeks, Bale had "totally transformed".[9] Turner said Bale "became completely ripped, super tan, got his teeth turned into perfect American teeth. I think he said he was modeling himself after his lawyer, or his agent, or Tom Cruise—an amalgam of those."[3] Bale received numerous warnings that starring in American Psycho was "career suicide", but this only made him more committed.[2]

Bale was a relative unknown at the time; he was only 13 at the time of his then-most famous role, in Steven Spielberg's Empire of the Sun (1987).[13] Lions Gate did not want to cast him and pushed for a more famous star like Edward Norton or Leonardo DiCaprio,[2] who Lions Gate was willing to pay $20 million (although the budget for the film itself would remain only $6 million). DiCaprio was considered the biggest star in the world at the time (having just starred in Titanic (1997), then the highest-grossing film ever) and was interested in playing Bateman,[1][9] but Harron opposed casting him, comparing the prospect to Demi Moore's casting in the critically panned 1995 Scarlet Letter film.[2] She argued he was too boyish to play Bateman and that his presence would harm the film given his young female fanbase.[2][1] She refused to even consider meeting with him, despite Pressman's pleas.[9] Ellis did not mind the idea of DiCaprio as Bateman, though he knew this annoyed Bale and Harron.[4]

At the 51st Cannes Film Festival in May 1998, Lions Gate suddenly announced that DiCaprio had been cast as Bateman.[1][2] Though Pressman wanted Harron to stay,[3] Harron was fired after making it clear that she would not direct American Psycho without Bale.[2] Furthermore, DiCaprio wanted to work with a major director and had drafted a shortlist that included Danny Boyle, Stanley Kubrick, and Martin Scorsese.[2][9] Oliver Stone was hired to direct and, after a reading with DiCaprio, Leto, and Cameron Diaz,[3] began reworking the script. Stone and DiCaprio wanted to take the film in a more psychological direction in contrast to Harron's satire[2] and turn it into a Jekyll and Hyde-like story.[9] Their endeavor was beset by creative differences; Pressman said that "[DiCaprio] was looking for solutions to things that weren't problems... As time went on more and more questions came into Leo's mind—which might have been about the script or other factors."[2] Bale was so confident DiCaprio would depart that he turned down other roles for nine months and continued preparing.[2][14]

DiCaprio departed in favor of Boyle's The Beach (2000), which led to Stone's withdrawl.[2] Turner later said she heard from a friend that DiCaprio chose to leave after Gloria Steinem, a strong critic of the novel, convinced him to abandon the project due to his young fanbase.[3] Lions Gate rehired Harron but was still against casting Bale as Bateman.[9] Lions Gate offered the role to Ewan McGregor, who turned it down after Bale personally urged him to do so.[14] Harron spoke with Ben Affleck, Matt Damon, Norton, and Vince Vaughn, but after they all declined, Lions Gate begrudgingly agreed to hire Bale with a small $50,000 salary.[9] Lions Gate also mandated that the budget not exceed $10 million and that recognizable actors would fill the supporting roles.[2] By that point, Dafoe, Leto, Reese Witherspoon, and Chloë Sevigny were already committed; Harron and Bale unsuccessfully tried to convince Winona Ryder to play Evelyn Williams.[9]

Filming[edit]

Principal photography commenced on February 28, 1999,[15] with a budget of $7 million.[16] Andrzej Sekuła served as cinematographer; he and Harron frequently argued, with Ross recalling that "[Sekula] was setting up shots that in [Harron]'s mind may have been cool shots, pretty shots, but didn't tell the story she wanted to."[1] As American companies did not want to be associated with American Psycho, the production team had to turn to European companies for clothes and cosmetics,[2] though these still imposed restrictions. Rolex made Harron change the novel's line "don't touch the Rolex" to "don't touch the watch", while Cerruti 1881 disallowed Bale from wearing its clothes during the murder scenes.[17]

Though some outdoor shots were captured in New York City (where the film is set), the majority of filming took place in downtown Toronto, with a variety of scenes shot in bars and restaurants around the city.[16] Anti-violence advocates petitioned Toronto City Hall to deny the production permission to film in Toronto and organized protests because of reports that Paul Bernardo—who had committed serial murders and rapes in Toronto five years prior—owned a copy of the novel.[10][15][a] As a result, the production faced difficulty securing shooting locations; the scenes in Bateman's office had to be filmed on a sound stage because the owners of the building that Harron intended to film in feared negative publicity.[18] Harron had been unaware of the novel's connection to the Bernardo case and sympathized with the protesters, but reasoned that she did not "want to put horrible mayhem on the screen... there's something to do here that hasn't really been done, a portrait of the late 80's that's worth putting on the screen."[10] To avoid protests, the production removed the title from daily call sheets and parking permits.[18]

Bale brought his copy of the novel to the set every day. Harron remained faithful to the novel's dialogue, so he "would kind of be skimming through it and looking at it and finding little bits and conferring in the corner with [her]".[1] Bale drew inspiration from Nicolas Cage's performance in Vampire's Kiss (1989) and Tom Cruise in an interview on Late Night with David Letterman.[19][20] He kept images of 1980s figures who he felt Bateman would attempt to emulate, such as Cruise and Donald Trump, in his trailer. A Method actor, Bale never broke character during the shoot—he did not socialize off-camera, always spoke with an American accent, and worked out at a gym for hours to maintain Bateman's physique.[1][3] His behavior confused other actors, with Sevigny saying that she had never seen an actor commit to a role to such a degree. Josh Lucas later told Bale that the other actors "thought that [he] was the worst actor they'd ever seen" and did not understand why Harron fought for him.[1] Harron nicknamed Bale "Robo-Actor" for his ability to control his sweat glands, which she and his co-stars noticed during the business card scene.[21]

Harron and Bale excluded Leto from rehearsals of the murder of Paul Allen so Leto's expression of shock when Bale ran at him with an axe would be genuine. The shots of Bateman swinging his axe at Allen had to be done quickly since the scene's use of theatrical blood limited the number of takes. Bale swung at a Plexiglass-coated camera as the crew squirted fake blood at his face. The blood covered only half of Bale's face by accident, but Harron found this "a perfect metaphor for the Jekyll-and-Hyde aspect of Bateman: pristine on the outside, bloody and psychotic on the inside".[22] Bale improvised Bateman's moonwalk, a change from the novel that Ellis initially disliked but grew to appreciate over time.[3] For the subsequent interview scenes featuring Donald Kimball, Hannon shot three takes and requested that Dafoe act differently in each of them. Dafoe acted as if Kimball knew Bateman was Allen's killer in the first, only suspected him in the second, and did not suspect anything in the third. The three takes were then blended in post-production to confuse audiences.[23]

Harron and Turner kept most violence off-screen, but Harron wanted "one classic horror movie scary scene" with "a big explosion of violence" that embraced the novel's brutality.[3] They conceived a threesome with Bateman and two women that ends with him murdering them.[3] Bale had no problem appearing nude, though he wore sneakers and covered his penis with a sock.[21] Turner, who is also an actress, portrayed one of the women; she found it "very daunting" being directed by Harron despite having been her co-writer for years.[3] The shot in which Bateman murders Turner's character while having sex with her took several takes, as it was difficult to get the theatrical blood to ooze through the sheets as they intended.[3] Bateman's phone confession took around 15 takes because Harron felt Bale's acting got better as he became more flushed. In contrast, a shot in which Bateman peels off a facial mask only took one take.[21]

Music[edit]

The Huey Lewis and the News (pictured) song "Hip to Be Square" appears in the film.

American Psycho's soundtrack features licensed 1980s pop music from a variety of artists, including David Bowie, Phil Collins, the Cure, the Mediæval Bæbes, New Order, and Eric B. & Rakim.[24][25][26] Due to the film's controversial nature, obtaining the rights proved difficult. Though the production was able to obtain the rights to all necessary songs,[21] Whitney Houston refused to allow the use of her performance of "The Greatest Love of All", so an orchestral arrangement had to be used instead. The Huey Lewis and the News song "Hip to Be Square" appears in the film and was intended to be on the soundtrack album, but was removed, forcing Koch Records to recall approximately 100,000 copies. Koch Records president Bob Frank said that the removal was due to Huey Lewis objecting to the film's violence,[24] but in 2013, Lewis said Frank's story was "completely made up".[27] Lewis's manager Bob Brown said that "Hip to Be Square" was included on the album without their permission, which he speculated was a publicity stunt.[24]

The original score was composed by Welsh musician and Velvet Underground co-founder John Cale, who also scored I Shot Andy Warhol,[25] alongside M.J. Mynarski.[26] Cale joined because, like I Shot Andy Warhol, he found Harron's script intelligent. He composed in his studio using a sampler and sent the music file to someone who turned it into a composition and hired musicians to record it. Harron described Cale's work as "a soulful, even melancholy sound to complement the soundtrack's poppy brightness."[25] Cale was uninvolved with the selection of licensed music and sound mixing, though for one scene that Harron wanted to be unsettling, he suggested using animal noises, like the tapes of rabbits screaming that the Federal Bureau of Investigation used against the Branch Davidians during the Waco siege.[25] The soundtrack album was released on April 4, 2000.[26]

Release[edit]

In January 2000, the Motion Picture Association of America (MPAA) gave American Psycho an NC-17 rating,[28] which would have limited the number of theaters it could be shown in.[29] Harron expected that the film would receive the rating for its violence, but the MPAA assigned an NC-17 rating due to the threesome scene.[30] The producers trimmed several seconds from the scene and the MPAA gave it an R rating upon resubmission.[29] Variety and IndieWire noted the incident as an example of the MPAA's stricter attitude towards sexuality compared to violence.[28][30]

Shortly before American Psycho's release, Harron wrote an op-ed in The New York Times in which she criticized the public's haste to judge the film without having watched it.[18]

Reception[edit]

Critical response[edit]

Accolades[edit]

Post-release[edit]

Aftermath[edit]

Home media[edit]

Analysis[edit]

Differences from the novel[edit]

Ending explained[edit]

Thematic analysis[edit]

Legacy[edit]

Critical reassessment[edit]

American Psycho is now considered one of the greatest horror films of the 21st century.[9]

Cultural impact[edit]

Sequel and related media[edit]

Notes[edit]

  1. ^ The claim that Bernardo was inspired by American Psycho is false. His crime spree began in 1987, several years before American Psycho's publication. Additionally, author Stephen Williams wrote in Invisible Darkness, a book about the Bernardo case, that Bernardo was nearly illiterate and the copy of American Psycho in his house belonged to his wife Karla Homolka; he is unlikely to have ever read it.[18]

References[edit]

Citations[edit]

  1. ^ a b c d e f g h i j k l m n o p q r s Molloy, Tim (April 14, 2020). "American Psycho: An Oral History, 20 Years After Its Divisive Debut". MovieMaker. pp. 1–4. Retrieved April 10, 2022.
  2. ^ a b c d e f g h i j k l m n o p Gopalan, Nisha (March 23, 2000). "American Psycho: the story behind the film". The Guardian. Retrieved April 10, 2022.
  3. ^ a b c d e f g h i j k l m Tenreyro, Tatiana (April 20, 2020). "Blood, Boycott, and Body Bags: An Oral History of 'American Psycho'". Vice. Retrieved April 11, 2022.
  4. ^ a b c d e Buchanan, Kyle (May 18, 2010). "Bret Easton Ellis on American Psycho, Christian Bale, and His Problem with Women Directors". Movieline. pp. 1–3. Retrieved April 10, 2022.
  5. ^ a b c d Jagernauth, Kevin (April 1, 2016). "Bret Easton Ellis Says He Wrote A Script For 'American Psycho' For David Cronenberg, With Brad Pitt Attached To Star". IndieWire. Retrieved April 10, 2022.
  6. ^ a b Carver, Benedict (May 5, 1998). "Lion's Gate to fund 'Psycho'". Variety. Retrieved February 24, 2015.
  7. ^ Rooney, David (March 2, 1994). "Disney wins Houston and Washington teaming …". Variety. Retrieved February 24, 2015.
  8. ^ Peter Bart (May 12, 1997). "Fast-talkers can't hold a candle to Pressman". Variety. Retrieved February 24, 2015.
  9. ^ a b c d e f g h i j k l m n o p q r s Shapiro, Lila (April 22, 2020). "In Conversation: Mary Harron". Vulture. Retrieved April 10, 2022.
  10. ^ a b c d e Weber, Bruce (April 4, 1999). "FILM; Digging Out the Humor in a Serial Killer's Tale". The New York Times. Retrieved April 12, 2022.
  11. ^ Lucas 2007, p. 793.
  12. ^ Cox, Dan (May 21, 1998). "Casting Leo has Harron hesitant". Variety. Retrieved February 24, 2015.
  13. ^ ShortList Team (September 7, 2021). "The troubled birth of American Psycho". ShortList. Retrieved April 12, 2022.
  14. ^ a b Heaf, Jonathan (April 26, 2011). "Christian Bale: behind the mask". GQ. Retrieved March 2, 2015.
  15. ^ a b Kelly, Brendan (February 22, 1999). "'Psycho' rabble". Variety. Retrieved April 13, 2022. The $10 million pic begins production Sunday in Toronto. There will also be some shooting in New York.
  16. ^ a b Clark, Sean (October 6, 2010). "Horror's Hallowed Grounds: 'American Psycho'!". Bloody Disgusting. Retrieved April 13, 2022.
  17. ^ "The American Psycho watch". Esquire. April 26, 2015. Retrieved April 18, 2022.
  18. ^ a b c d Harron, Mary (April 9, 2000). "FILM; The Risky Territory Of 'American Psycho'". The New York Times. Retrieved April 18, 2022.
  19. ^ Cheung 2012, p. 166.
  20. ^ Heritage, Stuart (October 23, 2009). "Who other than Tom Cruise has inspired Christian Bale?". The Guardian. Retrieved February 24, 2015.
  21. ^ a b c d Eisenberg, Eric (July 23, 2020). "14 American Psycho Behind-The-Scenes Facts You Might Not Know". CinemaBlend. Retrieved April 13, 2022.
  22. ^ Lawrence, Derek (April 14, 2020). "American Psycho turns 20: Inside Paul Allen's murder — and Jared Leto's surprise". Entertainment Weekly. Retrieved April 12, 2022.
  23. ^ Russell, Calum (May 1, 2021). "The incredible detail of Willem Dafoe's performance in 'American Psycho'". Far Out Magazine. Retrieved April 12, 2022.
  24. ^ a b c "American Psycho soundtrack in hot water". The Guardian. London, England. 13 April 2000. Retrieved 27 July 2010.
  25. ^ a b c d Baumgarten, Marjorie (April 14, 2000). "The Sound of One Psycho Cracking". The Austin Chronicle. Retrieved April 18, 2022.
  26. ^ a b c Mathis, Derrick. "American Psycho Review by Derrick Mathis". AllMusic. Retrieved April 18, 2022.
  27. ^ Greene, Andy (May 17, 2013). "Huey Lewis on 30 Years of 'Sports': 'Our 15 Minutes Were a Real 15 Minutes'". Rolling Stone. Retrieved July 3, 2014.
  28. ^ a b Lyons, Charles (January 17, 2000). "MPAA showers NC-17 on 'American Psycho'". Variety. Retrieved April 16, 2022.
  29. ^ a b "American Psycho cut to appease censors". The Guardian. 2000-02-29. Retrieved 2010-07-27.
  30. ^ a b "15 Times the MPAA Got it Wrong". IndieWire. October 7, 2014. Retrieved April 16, 2022.

Works cited[edit]

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