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Directed by | |||
| Mary Harron | |||
Writing credits(WGA) | ||
| Bret Easton Ellis | (novel) | |
| Mary Harron | (screenplay) & | |
| Guinevere Turner | (screenplay) | |
Original Music by | |||
| John Cale | |||
Cinematography by | |||
| Andrzej Sekula | |||
Film Editing by | |||
| Andrew Marcus | |||
Casting by | |||
| Kerry Barden | |||
| Billy Hopkins | |||
| Suzanne Smith | |||
Production Design by | |||
| Gideon Ponte | |||
Art Direction by | |||
| Andrew M. Stearn | (as Andrew Stearn) | ||
Set Decoration by | |||
| Jeanne Develle | |||
Costume Design by | |||
| Isis Mussenden | |||
Makeup Department | |||
| Margot Boccia | .... | key makeup artist: New York | |
| Katherine Hill | .... | assistant makeup artist | |
| Etheline Joseph | .... | assistant hair stylist | |
| Lucy Orton | .... | key hair stylist | |
| John Quaglia | .... | key hair stylist: New York (as John D. Quaglia) | |
| Sandra Wheatle | .... | key makeup artist | |
Second Unit Director or Assistant Director | |||
| Steve Apicella | .... | first assistant director: title sequence | |
| Cassandra Cronenberg | .... | third assistant director | |
| Jennifer Deathe | .... | second assistant director | |
| Paul Hogan | .... | DGA trainee: New York | |
| Andrew Marcus | .... | second unit director | |
| Elizabeth Parker | .... | trainee assistant director (as Elizabeth 'Duff' Parker) | |
| Peter Pastorelli | .... | assistant director: New York | |
| Michael Pitt | .... | second second assistant director: New York | |
| Andrew Shea | .... | first assistant director | |
| Charles Zalben | .... | second assistant director: New York | |
Art Department | |||
| Britt Bancroft | .... | set decoration coordinator (as Britt Matheson) | |
| Jamie Burke | .... | construction coordinator | |
| Philip Canfield | .... | assistant property master: New York | |
| Jean Deville | .... | property master: title sequence | |
| Ric Fernandez | .... | head carpenter | |
| Michael Followes | .... | property master | |
| Nicholas Gazda | .... | third assistant art director | |
| Arvinder Grewal | .... | first assistant art director | |
| Bruce Lee Gross | .... | assistant property master: title sequence | |
| Victoria Hamilton | .... | key scenic painter | |
| Ian Hay | .... | set dresser | |
| Jennifer Jacobsen | .... | set buyer | |
| Mike Johnson | .... | on-set carpenter | |
| Lara MacInnis | .... | art department apprentice | |
| Kim Maticiw | .... | property buyer | |
| David Rockburn | .... | lead set dresser | |
| Derreck Roemer | .... | property assistant | |
| Patrick Tarr | .... | set dresser | |
| Dick Tice | .... | property master: New York (as Richard Tice) | |
| Pierre M. Munha | .... | assistant property master (uncredited) | |
Sound Department | |||
| Fred Brennan | .... | supervising dialogue editor | |
| Benjamin Cheah | .... | sound designer (as Ben Cheah) | |
| Kathy Choi | .... | assistant special effects editor | |
| Marko A. Costanzo | .... | additional foley: New York (as Marko Costanzo) | |
| Keith Elliott | .... | sound re-recording mixer | |
| Henry Embry | .... | sound mixer | |
| Peter Kelly | .... | sound re-recording mixer | |
| Garrett Kerr | .... | dialogue editor | |
| Goro Koyama | .... | foley artist | |
| George A. Lara | .... | foley engineer: New York | |
| Geoff Lippman | .... | stereo sound consultant: Dolby | |
| Andy Malcolm | .... | foley artist | |
| Anna Malkin | .... | foley: pro-tools operator | |
| Ron Malligers | .... | foley mixer | |
| David McCallum | .... | sound effects editor | |
| Mark McNeilly | .... | boom operator (as Mark 'Boomwallah' McNeilly) | |
| Daniel Pellerin | .... | supervising sound re-recording mixer | |
| Richard Segal | .... | boom trainee | |
| Etoile Stewart | .... | assistant dialogue editor | |
| Jane Tattersall | .... | supervising sound editor | |
| Andrew Tay | .... | foley mixer | |
| Paul Urmson | .... | sound designer | |
| Rebecca Wright | .... | foley: pro-tools operator | |
| Mark Zsifkovits | .... | sound re-recording operator | |
| Andrew Zuch | .... | boom operator: New York | |
| Bernie Zuch | .... | sound mixer: New York | |
| Steven Zuch | .... | third sound: New York | |
| James Marchione | .... | adr recordist (uncredited) | |
Special Effects by | |||
| Conrad V. Brink Jr. | .... | special effects: New York | |
| Michael Kavanagh | .... | special effects coordinator | |
| Derek Liscoumb | .... | special effects technician | |
| John MacGillivray | .... | special effects technician | |
| Tim Barraball | .... | special effects technician (uncredited) | |
Visual Effects by | |||
| Keith M. Hamilton | .... | digital compositor: Film Opticals (uncredited) | |
| Julia K.S. Miles | .... | digital compositor: Film Opticals (uncredited) | |
Stunts | |||
| Brenda Adams | .... | stunts | |
| Lloyd Adams | .... | stunts | |
| Marco Bianco | .... | stunts | |
| Matt Birman | .... | stunt coordinator | |
| Matt Birman | .... | stunts | |
| Frank Ferrara | .... | stunt coordinator: New York | |
| C.J. Fidler | .... | stunts | |
| Brian Kaulback | .... | stunts | |
| Ken Quinn | .... | stunts | |
| John Stoneham Jr. | .... | stunts | |
| Tye Tyukodi | .... | stunts (as Anton Tyukodi) | |
Casting Department | |||
| Mark Bennett | .... | casting associate: USA | |
| Megan Conacher | .... | extras casting | |
| Deborah Maxwell Dion | .... | casting assistant: USA | |
| Meredith Jacobson | .... | extras casting: New York (as Meredith Jacobson Marciano) | |
| Sondra James | .... | adr voice casting | |
| Jennifer McNamara | .... | casting associate: USA | |
| Clare Walker | .... | casting: Canada | |
Costume and Wardrobe Department | |||
| Michael Adkins | .... | wardrobe supervisor: New York | |
| Patrick Antosh | .... | on-set wardrobe supervisor | |
| Alex Forester | .... | wardrobe assistant: Los Angeles | |
| Kim Harkness | .... | wardrobe production assistant | |
| Amina Mohamed | .... | wardrobe assistant | |
| Gersha Phillips | .... | assistant costume designer: Toronto | |
| Barbara Presar | .... | assistant costume designer: New York | |
| Hartsell Taylor | .... | wardrobe supervisor: New York | |
Editorial Department | |||
| Matt Anas | .... | trainee assistant editor | |
| Emily Gumpel | .... | second assistant editor: New York | |
| Philip Harrison | .... | associate editor: New York | |
| Chris Hinton | .... | color timer | |
| Mitch Lackie | .... | assistant editor: Toronto | |
| Catherine Rankin | .... | negative cutter | |
| Kim Sparks | .... | post-production assistant | |
| Deanna Strong | .... | post-production coordinator | |
Music Department | |||
| Barry Cole | .... | music supervisor | |
| Christopher Covert | .... | music supervisor | |
| Eve Egoyan | .... | musician: solo piano | |
| James Flatto | .... | additional music editor | |
| William Garrett | .... | music mixer: orchestra | |
| Martin Goldray | .... | conductor | |
| Mishann Lau | .... | additional music editor | |
| Gillian Morris | .... | assistant music supervisor | |
| Mj Mynarski | .... | technical music consultant | |
| David Voigt | .... | music engineer | |
| Jeff Wolpert | .... | music consultant | |
| Jeff Wolpert | .... | music editor | |
| Randall Woolf | .... | orchestrator | |
Transportation Department | |||
| Mike Adams | .... | driver | |
| Robert Arsenault | .... | head driver | |
| Tony Bifano | .... | transportation coordinator | |
| Glen Creswell | .... | driver captain | |
| Wayne Frampton | .... | talent driver | |
| Richard Hooper | .... | driver | |
| Shane Kitchener | .... | driver | |
| Danny Menecola | .... | driver | |
| John Mulligan | .... | transportation co-captain: New York | |
| Steve Russell | .... | driver: honeywagon | |
| Dusan Stepanovic | .... | driver | |
| Peter Travis | .... | transportation captain: New York | |
| Lisa Zozzolotto | .... | driver | |
| Scott Clarke | .... | driver: Christian Bale (uncredited) | |
Other crew | |||
| Heather Anderson | .... | assistant: Mary Harron | |
| Ethan Baum | .... | hand double: title sequence | |
| John 'Frenchie' Berger | .... | gun handler (as Frenchie Berger) | |
| Peter Blakeman | .... | food stylist | |
| Michael Blecher | .... | location manager | |
| Hilary Bowers | .... | assistant: Mr. Pressman | |
| Dan Brillman | .... | production assistant: title sequence | |
| Jane Conway | .... | pig wrangler | |
| James Crouch | .... | key production accountant | |
| David Daniels | .... | production executive: New York | |
| Aurea Dempsey | .... | production secretary | |
| Ken Dhaliwal | .... | production legal | |
| Nadine Dislioglu | .... | office production assistant | |
| Ron Donne | .... | food stylist | |
| Damien DuPuis | .... | office production assistant | |
| Rick Ellis | .... | food stylist: title sequence | |
| Mark Feinsod | .... | office production assistant: New York | |
| Jordan Gertner | .... | production executive: Muse | |
| Catherine Gore | .... | script supervisor: title sequence | |
| Omri Green | .... | hand double: title sequence | |
| Shell Hecht | .... | production coordinator: New York | |
| Geofrey Hildrew | .... | office production assistant: New York | |
| Deirdre Hughes | .... | office production assistant | |
| Jeff Jackson | .... | production legal | |
| Nancy Jackson | .... | production coordinator | |
| Eddie Joe | .... | parking coordinator: New York | |
| Mary A. Kelly | .... | script supervisor: New York (as Mary Kelly) | |
| Karen Kimball | .... | assistant: Mr. Pressman | |
| Joan Kirby | .... | accountant: Lions Gate | |
| Pat Lanctot | .... | consultant: avid | |
| Sophia Lin | .... | production assistant: title sequence | |
| Karen Mathieson | .... | location production assistant | |
| Laurie May | .... | business and legal affairs: Lions Gate | |
| Joan McGuinness | .... | completion bond | |
| Frank McKenna | .... | craft service: New York | |
| Michael McKenna | .... | craft service: New York | |
| Ru Niles | .... | second accounts assistant | |
| Susan Nycz | .... | truck assistant | |
| Erin O'Rourke | .... | creative executive: Pressman | |
| Timothy Wayne Peternel | .... | production executive: Muse | |
| Suzanne Porter | .... | assistant location manager | |
| Morgan H. Rector | .... | production financing (as Morgan Rector) | |
| Dusty Reeves | .... | research and clearance coordinator | |
| Katherine Rosin | .... | hand double: title sequence | |
| Katherine Rosin | .... | production coordinator: Lions Gate Films, New York | |
| John Ross | .... | completion bond | |
| Jonathan Roumie | .... | assistant location manager: New York | |
| Kristi Savino | .... | assistant: Mr. Pressman | |
| Andrew Saxe | .... | location manager | |
| Zach Schiff-Abrams | .... | creative executive: Pressman | |
| Dave Scott | .... | hand double: title sequence | |
| Lisa A. Shapiro | .... | business and legal affairs: Pressman (as Lisa Shapiro) | |
| Carissa Shaw | .... | assistant to producers | |
| Claude Shaw | .... | assistant: Mr. Solomon | |
| Jon Shiffman | .... | production financing | |
| Dawn Marie Sorokolit | .... | script supervisor (as Dawn Sorokolit) | |
| David Steinberg | .... | production legal | |
| Jay Stein | .... | payroll coordinator: New York | |
| Jim Sternberg | .... | completion bond | |
| Aloma Taylor | .... | accounting assistant | |
| Kirk Thompson | .... | insurance | |
| Adrienne Tyson | .... | daily assistant | |
| Carrie Walkup | .... | creative executive: Lions Gate | |
| Reid Warman | .... | production secretary: New York | |
| Johanna Weinstein | .... | food coordinator | |
| Gregory G. Woertz | .... | production executive: Pressman (as Gregory Woertz) | |
| Levi Woodward | .... | production assistant: title sequence | |
| Sarah Wright | .... | assistant: Mr. Pressman | |
| Emily Zalenski | .... | marketing executive: Pressman | |
| Koethi Zan | .... | business and legal affairs: Pressman | |
| Harrison Cheung | .... | publicist (uncredited) | |
| Mark L. Feinsod | .... | office production assistant (uncredited) | |
| Michael Hamer | .... | double: Patrick Bateman (uncredited) | |
| Clark McCutchen | .... | production executive (uncredited) | |
| Robert M. Melnik | .... | senior vice president of business affairs: Lions Gate Films (uncredited) | |
| Gina Meyers | .... | production assistant (uncredited) | |
| James O'Donnell | .... | office production assistant (uncredited) | |
| Sean Oliver | .... | adr loop group (uncredited) | |
| Peter Pamela Rose | .... | adr loop group (uncredited) | |
| Simon St. Laurent | .... | opticals: Film Opticals (uncredited) | |
| Don Thacker | .... | production assistant (uncredited) | |
| Bill Timoney | .... | adr loop group (uncredited) | |
| Nick Veziris | .... | gun wrangler (uncredited) | |
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AMERICAN PSYCHO / (2000) **** (out of four)
Patrick Bateman: I think my mask of sanity is about to slip. ---"American Psycho"
The average filmmaker would turn "American Psycho" into an exploitative slasher flick, but Mary Harron and Guinevere Turner have adapted the controversial novel by Bret Easton Ellis into something unique and intriguing, a brilliant, thought-provoking social commentary thriller.
Readers criticized the decade old novel because of its graphic violence, but that doesn't cause Turner and Harron to give into the controversial material. I have never read the book, but after watching "American Psycho," I intend to. It's a scathing, rare film that probes our imagination and beliefs while experimenting with true psychological terror. It often makes startling switches between scenes of dark comedy and sequences that portray unsettling, graphic images. Director Mary Harron says in the film's press notes that she wanted all but one of the violent sequences to be disturbing. The amount of blood and violence here is certainly extreme, but considering the nature of the beast, not overly abundant. The film calculates every single act of violence, therefore, the victims are seldom random characters, but people we care about, which is why the scenes are so timely and effective.
The best description of the film's main character, Patrick Bateman (Christian Bale) comes from Christopher Lehmann-Houpt of The New York Times. "Patrick Bateman lives in a morally flat world in which clothes have more value than skin, objects are worth more than bones, and the human soul is something to be sought with knives and hatchets and drills."
Both leading actors in "American Psycho" have previously portrayed Jesus Christ, Willem Dafoe in "The Last Temptation of Christ," and Christian Bale in "Mary, Mother of Jesus." Talk about versatility. It's probably not a coincidence that Christian Bale was the initial actor of preference for Mary Harron. If an actor can display such a fascinating performance as Jesus Christ, he's more than capable of playing a psychotic serial killer because he already knows the other side of the moral spectrum.
Through the strong central character, "American Psycho" suggests several themes about the 1980's, including society's obsession with outer perfection, conformity, the rising threshold of material fetishism, and the strong desire of stimulation by drugs, sex, money, and power. Patrick Bateman isn't given a back story, however, and the movie doesn't offer his personal history. Bateman has no inside emotions. He reacts by inner impulse alone. He seeks gratification through the sex and drugs, but also by engaging in the homicidal behavior.
"You could describe American Psycho' as a film about perfect surfaces and what might be lurking beneath," says Mary Harron. "Inside, Bateman might want it all to stop, but for him it's a compulsion. He's like the serial killer in M, who says: You have a choice, but I can't help what I am.'"
"American Psycho" initially earned an NC-17 rating, not because of the violence but because of the graphic sexual content. The director's cut is available on videocassette and DVD, which shows the film's three-way sex scene in more disturbing, yet innovative, detail. That's a good thing, if you're not a sensitive viewer, because this film is all about details. The production design, the cinematography, the visual effects, the engaging soundtrack, the quirks each actor masterfully incorporates with their character, and every other aspect of the film is flush in detail.
This is a movie that requires more than one viewing, to experience the surreal visual arena, and to justify what we think actually happened. Perplexingly, the film's conclusion puts the events into question. Did Bateman really kill these people, or did he just really want to? The answers don't come easy, but this is a movie that begs us to look closer