The Narrative Has Been As Consistent As It Has Harsh

Total Page:16

File Type:pdf, Size:1020Kb

The Narrative Has Been As Consistent As It Has Harsh MO Danny DeVito (left), Humphrey Bogart (above, far left), and Michael Douglas (right), all played less-than-lovable dealmakers on the big screen. DeVito was “Larry the Liquidator,” Douglas the money-blinded Gordon Gekko, while Bogart played Linus Larrabee, a businessman V worried that love might ruin a lucrative deal. ociopaths bereft of morals, hedonists THE NARRATIVE Other films that have unpleasant dealmakers blinded by greed, even serial killers armed include “Working Girl,” “It’s a Wonderful Life,” and with chainsaws – these are just a few of the HAS BEEN AS “The Family Man.” less-than-flattering ways dealmakers have CONSISTENT AS The portrayal persists on TV. In a Sopranos M&A AT THE S been portrayed on-screen. Dealmakers episode titled “Mergers and Acquisitions,” infidelity, play a leading role far less often than other financial IT HAS HARSH. intimidation, and a violently broken arm move the professionals – like rogue traders or immoral plot along. IES DEALS ON THE brokers – but in almost every instance they’ve been The narrative has been as consistent as it has painted with a similarly scathing brush. BIG SCREEN harsh. Deals on the big screen come at a human cost: In the 1954 classic “Sabrina,” a lucrative merger COME AT A love, morals, or jobs. The men who make them – and hinges on an engagement between the children of they are almost always men – don’t balk at the steep two wealthy families. The choice facing Humphrey HUMAN COST – price tag. When they do, their professional lives and Bogart’s character is love or money – the heartless LOVE, MORALS, relationships take a hit. nature of the deal won’t allow both. It may be tempting to write off these story lines Richard Gere plays a fabulously wealthy JOBS and characters as fantastical. But these caricatures corporate raider in “Pretty Woman” whose can have real-life inspirations. Oliver Stone, Christian Bale (opposite, relationship with a prostitute, played by Julia top), as Patrick Bateman who co-wrote “Wall Street,” said Gekko was an Roberts, helps him discover a moral compass. By in “American Psycho,” the amalgamation of real-life corporate raiders. the end of the film, Gere’s character wants to save story of a murderous M&A Others might say the corporate-raider narrative banker. In the 1988 film companies rather than tear them apart – a move “Working Girl,” Sigourney is dated. But today, it remains difficult – laughable that infuriates his unrepentant business partners. Weaver (opposite, left) even – to imagine a film featuring a dealmaker who In “Other People’s Money,” Danny DeVito’s deal- plays a dealmaker who saves an orphanage, or a mega-deal that rescues a steals her secretary’s idea. making character is affectionately known as “Larry Tess, the secretary, is small town. When leaders and businesses highlight the Liquidator.” In “American Psycho,” Christian played by Melanie Griffith. the social value of their deal, many in the audience The two have one of Bale’s character is an investment banker specializing the film’s iconic are understandably skeptical. in M&A – and also a deranged serial killer. The exchanges: “Tess, this is Dealmakers have been cast as the villains slick-haired, cigar-puffing corporate raider Gordon business. Let’s just bury for decades. It will take bold and sustained the hatchet, OK?” “You Gekko, played by Michael Douglas, tells us in “Wall know where you can bury engagement, backed by meaningful action, to PHOTOGRAPHS: EVERETT COLLECTION, INC. / ALAMY; RÖHNERT/ULLSTEIN BILD, MONDADORI PORTFOLIO GETTY MONDADORI IMAGES BILD, RÖHNERT/ULLSTEIN ALAMY; / EVERETT INC. COLLECTION, PHOTOGRAPHS: PHOTOGRAPHS: PHOTO 12 / ALAMY; MOVIESTORE COLLECTION LTD / ALAMY STOCK PHOTO ALAMY STOCK / LTD COLLECTION MOVIESTORE ALAMY; / 12 PHOTO PHOTOGRAPHS: Street” that, “Greed, for lack of a better word, is good.” your hatchet?” change the narrative. 74 brunswick review · issue 14 · 2018 brunswick review · issue 14 · 2018 75 .
Recommended publications
  • DVD Movie List by Genre – Dec 2020
    Action # Movie Name Year Director Stars Category mins 560 2012 2009 Roland Emmerich John Cusack, Thandie Newton, Chiwetel Ejiofor Action 158 min 356 10'000 BC 2008 Roland Emmerich Steven Strait, Camilla Bella, Cliff Curtis Action 109 min 408 12 Rounds 2009 Renny Harlin John Cena, Ashley Scott, Aidan Gillen Action 108 min 766 13 hours 2016 Michael Bay John Krasinski, Pablo Schreiber, James Badge Dale Action 144 min 231 A Knight's Tale 2001 Brian Helgeland Heath Ledger, Mark Addy, Rufus Sewell Action 132 min 272 Agent Cody Banks 2003 Harald Zwart Frankie Muniz, Hilary Duff, Andrew Francis Action 102 min 761 American Gangster 2007 Ridley Scott Denzel Washington, Russell Crowe, Chiwetel Ejiofor Action 113 min 817 American Sniper 2014 Clint Eastwood Bradley Cooper, Sienna Miller, Kyle Gallner Action 133 min 409 Armageddon 1998 Michael Bay Bruce Willis, Billy Bob Thornton, Ben Affleck Action 151 min 517 Avengers - Infinity War 2018 Anthony & Joe RussoRobert Downey Jr., Chris Hemsworth, Mark Ruffalo Action 149 min 865 Avengers- Endgame 2019 Tony & Joe Russo Robert Downey Jr, Chris Evans, Mark Ruffalo Action 181 mins 592 Bait 2000 Antoine Fuqua Jamie Foxx, David Morse, Robert Pastorelli Action 119 min 478 Battle of Britain 1969 Guy Hamilton Michael Caine, Trevor Howard, Harry Andrews Action 132 min 551 Beowulf 2007 Robert Zemeckis Ray Winstone, Crispin Glover, Angelina Jolie Action 115 min 747 Best of the Best 1989 Robert Radler Eric Roberts, James Earl Jones, Sally Kirkland Action 97 min 518 Black Panther 2018 Ryan Coogler Chadwick Boseman, Michael B. Jordan, Lupita Nyong'o Action 134 min 526 Blade 1998 Stephen Norrington Wesley Snipes, Stephen Dorff, Kris Kristofferson Action 120 min 531 Blade 2 2002 Guillermo del Toro Wesley Snipes, Kris Kristofferson, Ron Perlman Action 117 min 527 Blade Trinity 2004 David S.
    [Show full text]
  • Good Food ... Good Feelings • Shirley (Neon) — Elisabeth Moss, Logan Lerman, Michael Stuhlbarg
    Jay’s Pix Presents at the International improvisational style with a cast of non-actors. Museum — Film historian Jay Duncan and the Fountain Theatre — 2469 Calle de Sunset Film Society host presentations at 2 Guadalupe, 1/2 block south of the plaza in p.m. Saturdays at International Museum of Art, Mesilla. Theatre closed at least through April 3; 1211 Montana (door on Brown opens at 1:30 check website for updates and reopening p.m.). Admission is free. Snacks available for schedule. purchase; guests encouraged to come early for directed and co-written by Billy Wilder. Two Miami — which also happens to be the destina- The historic theater, operated by the Mesilla special attractions. Information: 543-6747 musicians in 1929 Chicago (Jack Lemmon and tion for the mobsters attending a convention. Valley Film Society, features films at 7:30 p.m. (museum), internationalmuseumofart.net and Tony Curtis) accidentally witness the St. • April 18: “Chicago.” The 2002 musical crime nightly, plus 1:30 p.m. Saturday and 2:30 p.m. sunsetfilmsociety.org. Valentine’s Day massacre and go on the lam, comedy-drama film, based on the stage musi- Sunday. Some 7:30 p.m. Sunday night screen- This month’s films Celebrate the Roarin’ 20s. hiding from the mobsters who saw them. Since cal, explores the themes of celebrity, scandal ings have an open caption option. Admission: • April 11 : “Some Like It Hot.” Voted the jobs are scarce during the Great Depression, and corruption in Chicago during the Jazz Age. $8 ($7 matinees, seniors, military and students No.
    [Show full text]
  • Efter Dustin Hoffman Och Goldie Hawn: Richard Gere I Kappahls Nya Reklamfilm
    2007-09-14 08:56 CEST Efter Dustin Hoffman och Goldie Hawn: Richard Gere i KappAhls nya reklamfilm Richard Gere, en av Hollywoods absolut största stjärnor, medverkar i KappAhls nya reklamfilm. Han blir den tredje hollywoodskådespelaren, efter Dustin Hoffman och Goldie Hawn, som för ut KappAhls reklamplattform You Look Great. Och som vanligt är det en kvinna som spelar huvudrollen medan stjärnan får nöja sig med en biroll. Arvodet skänker Richard Gere bland annat till ett hälsoprojekt i tredje världen. Richard Gere har varit med från början på KappAhls heta lista över tänkbara skådespelare. - Nu var tiden rätt. Richard Gere är en superkändis med en otroligt stark karisma. När han i filmen säger You Look Great till vår kvinnliga huvudrollsinnehavare, så är jag övertygad om att alla kvinnor känner det som en stor komplimang, säger Cathrine Simonsson, marknadschef på KappAhl. Richard Gere är mycket restriktiv när det gäller reklam. - Jag har bara gjort några få reklamfilmer och jag undersöker noggrant vilka företag jag arbetar med, innan jag tackar ja. Samarbetet med KappAhl är viktigt och värdefullt och kommer att gynna många fattiga människor. Jag vill genom min välgörenhetsorganisation, The Gere Foundation, satsa pengar bland annat på ett projekt med sjukförsäkringar i tredje världen. Därför kommer jag att skänka hela mitt arvode till detta ändamål, säger Richard Gere. Richard Gere har under hela sin skådepelarkarriär engagerat sig i de svagas kamp. - Han är en sann humanist som kombinerar kändisskapet med ett stort engagemang för de fattiga, som nu när han låter arvodet gå till ett behjärtansvärt ändamål, påpekar Cathrine Simonsson. - You Look Great speglar våra kunders syn på sig själva och vi medverkar till att bekräfta detta.
    [Show full text]
  • Reminder List of Productions Eligible for the 90Th Academy Awards Alien
    REMINDER LIST OF PRODUCTIONS ELIGIBLE FOR THE 90TH ACADEMY AWARDS ALIEN: COVENANT Actors: Michael Fassbender. Billy Crudup. Danny McBride. Demian Bichir. Jussie Smollett. Nathaniel Dean. Alexander England. Benjamin Rigby. Uli Latukefu. Goran D. Kleut. Actresses: Katherine Waterston. Carmen Ejogo. Callie Hernandez. Amy Seimetz. Tess Haubrich. Lorelei King. ALL I SEE IS YOU Actors: Jason Clarke. Wes Chatham. Danny Huston. Actresses: Blake Lively. Ahna O'Reilly. Yvonne Strahovski. ALL THE MONEY IN THE WORLD Actors: Christopher Plummer. Mark Wahlberg. Romain Duris. Timothy Hutton. Charlie Plummer. Charlie Shotwell. Andrew Buchan. Marco Leonardi. Giuseppe Bonifati. Nicolas Vaporidis. Actresses: Michelle Williams. ALL THESE SLEEPLESS NIGHTS AMERICAN ASSASSIN Actors: Dylan O'Brien. Michael Keaton. David Suchet. Navid Negahban. Scott Adkins. Taylor Kitsch. Actresses: Sanaa Lathan. Shiva Negar. AMERICAN MADE Actors: Tom Cruise. Domhnall Gleeson. Actresses: Sarah Wright. AND THE WINNER ISN'T ANNABELLE: CREATION Actors: Anthony LaPaglia. Brad Greenquist. Mark Bramhall. Joseph Bishara. Adam Bartley. Brian Howe. Ward Horton. Fred Tatasciore. Actresses: Stephanie Sigman. Talitha Bateman. Lulu Wilson. Miranda Otto. Grace Fulton. Philippa Coulthard. Samara Lee. Tayler Buck. Lou Lou Safran. Alicia Vela-Bailey. ARCHITECTS OF DENIAL ATOMIC BLONDE Actors: James McAvoy. John Goodman. Til Schweiger. Eddie Marsan. Toby Jones. Actresses: Charlize Theron. Sofia Boutella. 90th Academy Awards Page 1 of 34 AZIMUTH Actors: Sammy Sheik. Yiftach Klein. Actresses: Naama Preis. Samar Qupty. BPM (BEATS PER MINUTE) Actors: 1DKXHO 3«UH] %LVFD\DUW $UQDXG 9DORLV $QWRLQH 5HLQDUW] )«OL[ 0DULWDXG 0«GKL 7RXU« Actresses: $GªOH +DHQHO THE B-SIDE: ELSA DORFMAN'S PORTRAIT PHOTOGRAPHY BABY DRIVER Actors: Ansel Elgort. Kevin Spacey. Jon Bernthal. Jon Hamm. Jamie Foxx.
    [Show full text]
  • Flute Alanis Morrisette (Singer) Halle Berry (Actress) Celine Dion (Singer
    Flute Trumpet Alanis Morrisette (singer) James Woods (actor) Halle Berry (actress) John Glenn (Astronaut and U.S. Senator) Celine Dion (singer) Michael Anthony (Bass player for Van Halen) Calista Flockhart (“Ally McBeal”) Drew Carey (actor/comedian) Alyssa Milano (actress) Stephen Tyler (lead singer for Aerosmith) Noah Webster (Webster’s Dictionary) Prince Charles (future King of England) Gwen Stefani (singer from No Doubt) Montel Williams (talk show host) Jennifer Garner (actress from “Alias”) Richard Gere (actor) Shania Twain (singer) Clarinet Flea (Red Hot Chili Peppers) Rainn Wilson (actor from “The Office”) Jackie Gleason (actor) Julia Roberts (actress) Samuel L. Jackson Woody Allen (actor/director) (Mace Windu from Star Wars I, II, III) Gloria Estefan (singer) Tony Shaloub (“Monk”) French Horn Eva Longoria (“Desperate Housewives”) Ewan McGregor Jimmy Kimmel (comedian/talk show host) (Obi Wan Kanobi from Star Wars I, II, III) Allan Greenspan Vanessa Williams (Singer/Actress) (former Chairman of the Federal Reserve) Otto Graham (NFL Hall of Fame quarterback) Steven Spielberg (movie director) Baritone Bass Clarinet Neil Armstrong (Astronaut - first man on the moon) Zakk Wylde (Guitarist for Ozzy Osbourne) Tuba Saxophone Andy Griffith (actor) Jennifer Garner (“Alias”) Harry Smith (CBS’s “The Early Show”) Bill Clinton (former U.S. President) Dan Aykroyd (actor) Trent Reznor (lead singer for Nine Inch Nails) Aretha Franklin (“Queen of Soul”, singer) Roy Williams (NFL Dallas Cowboys) Vince Carter (NBA Star) Percussion David Robinson (Retired NBA Star) Mike Anderson (NFL) Tedi Bruschi (NFL New England Patriots) Eddie George (retired NFL) Bob Hope (late comedian/actor) Trent Raznor (Nine Inch Nails) Lionel Richie (singer, father of Nicole Richie) Dana Carvey (actor/comedian) Tom Selleck (actor from “Magnum PI”) Vinnie Paul (Pantera) Walter Payton (NFL Hall of Fame running back) Trombone Johnny Carson (TV Host) Bill Engvall (Blue Collar Comedy Tour) Mike Piazza (former MLB catcher) Nelly Furtado (singer) Tony Stewart (NASCAR Driver) .
    [Show full text]
  • Reading the Body in Bret Easton Ellis's American Psycho (1991): Confusing Signs and Signifiers
    Reading the Body in Bret Easton Ellis’s American Psycho (1991) David Roche To cite this version: David Roche. Reading the Body in Bret Easton Ellis’s American Psycho (1991): Confusing Signs and Signifiers. Groupe de Recherches Anglo-Américaines de Tours, Groupe de recherches anglo-américaines de Tours, Université de Tours, 1984-2008, 2009, 5 (1), pp.124-38. halshs-00451731 HAL Id: halshs-00451731 https://halshs.archives-ouvertes.fr/halshs-00451731 Submitted on 6 Sep 2010 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. 124 GRAAT On-Line issue #5.1 October 2009 Reading the Body in Bret Easton Ellis's American Psycho (1991): Confusing Signs and Signifiers David Roche Université de Bourgogne In Ellis’s scandalous end-of-the-eighties novel American Psycho , the tale of Patrick Bateman—a Wall Street yuppie who claims to be a part-time psychopath— the body is first conceived of as a visible surface which must conform to the norms of the yuppies’ etiquette. I use the word “etiquette,” which Patrick uses (231) and which I oppose to the word “ethics” which suggests moral depth, to stretch how superficial the yuppie’s concerns are and to underline, notably, that the yuppie’s sense of self is limited to his social self, his public appearance, his self-image, which I relate to D.
    [Show full text]
  • Digital Toolbox Exhibition Catalog
    EXHIBITION CHECKLIST dimensions in inches h x w x d NANCY BURSON All work courtesy of Clamp Art, NY Businessman (10 Businessmen from Goldman Sachs), 1982 gelatin silver print from computer generated negative 9.25 x 9.375 Cog and Dat, 1983 gelatin silver print from computer-generated negative 9.25 x 9.375 First Beauty Composite: Bette Davis, Audrey Hepburn, Grace Kelly, Sophia Loren, Marilyn Monroe, 1982 gelatin silver print from computer generated image 7.25 x 8.25 First Male Movie Star Composite: Cary Grant, Jimmy Stewart, Gary Cooper, Clark Gable, Humphrey Bogart, 1984 gelatin silver print from computer generated negative 11 x 14 He With She and She With He, 1996 two gelatin silver prints from computer-generated negatives 14 x 11 each Courtesy of Clamp Art, NY Lion/Lamb, 1983 gelatin silver print from computer-generated negative 9.25 x 9.375 Mankind (An Oriental, a Caucasian, and a Black weighted according to current population statistics), 1983-1985 gelatin silver print from computer-generated negative 14 x 11 Second Beauty Composite: Jane Fonda, Jacqueline Bisset, Diane Keaton, Brooke Shields, Meryl Streep, 1982 gelatin silver print from computer generated image 7.25 x 8.25 Second Male Movie Star Composite: Richard Gere, Christopher Reeve, Mel Gibson, Warren Beatty, Robert Redford, 1984 gelatin silver print from computer generated negative 11 x 14 Untitled, 1989 (Reference: Blurry Man) Polaroid from computer-generated image (unique) 24 x 20 Untitled, 1989 (Reference: Snake Man) Polaroid from computer-generated image (unique) 24 x 20
    [Show full text]
  • Unreliable Narration in Bret Easton Ellis╎ American Psycho
    Current Narratives Volume 1 Issue 1 Narrative Inquiry: Breathing Life into Article 6 Talk, Text and the Visual January 2009 Unreliable narration in Bret Easton Ellis’ American Psycho: Interaction between narrative form and thematic content Jennifer Phillips University of Wollongong, [email protected] Follow this and additional works at: https://ro.uow.edu.au/currentnarratives Recommended Citation Phillips, Jennifer, Unreliable narration in Bret Easton Ellis’ American Psycho: Interaction between narrative form and thematic content, Current Narratives, 1, 2009, 60-68. Available at:https://ro.uow.edu.au/currentnarratives/vol1/iss1/6 Research Online is the open access institutional repository for the University of Wollongong. For further information contact the UOW Library: [email protected] Unreliable narration in Bret Easton Ellis’ American Psycho: Interaction between narrative form and thematic content Abstract In this paper I analyse the narrative technique of unreliable narration in Bret Easton Ellis’ American Psycho (1991). Critics have been split about the reliability of Patrick Bateman, the novel’s gruesome narrator- protagonist. Using a new model for the detection of unreliable narration, I show that textual signs indicate that Patrick Bateman can be interpreted as an unreliable narrator. This paper reconciles two critical debates: (1) the aforementioned debate surrounding American Psycho, and (2) the debate surrounding the concept of unreliable narration itself. I show that my new model provides a solution to the weaknesses which have been identified in the rhetorical and cognitive models previously used to detect unreliable narration. Specifically, this new model reconciles the problematic reliance on the implied author in the rhetorical model, and the inconsistency of textual signs which is a weakness of the cognitive approach.
    [Show full text]
  • There Is an Idea of a Patrick Bateman, Some Kind of Abstraction, but There
    1 “…there is an idea of a Patrick Bateman, some kind of abstraction, but there is no real me, only an entity, something illusory, and though I can hide my cold gaze and you can shake my hand and feel flesh gripping yours and maybe you can even sense our lifestyles are probably comparable: I simply am not there.” Bret Easton Ellis, author of the controversial book American Psycho (1991) puts forward the thought that mind and body are distinct. The quote I shall be discussing is one of the protagonists’ (Patrick Bateman’s) key self-analysis, in which he believes that even though he physically exists, he is nothing more than an illusion and an abstraction. Bateman’s feelings of absence are reinforced by his numerous internal monologues, this quote being one of them. I will use Rene Descartes’ meditations along with the concept of the self in order to differentiate between mind and body, and to conclude whether Bateman is really not there. Firstly I will look at the concept of the self. Self-analysis is the first step to understand who you are, and self-conceptualization is a cognitive component of oneself. Once one is fully aware of oneself, that person then has a concept of himself/herself. This concept is usually broken down into two parts: The Existential Self and The Categorical Self. The existential self is the sense we get of being different from those around us, and the realization of the constancy of the self. The categorical self is when one realizes that he or she is distinct as well as an object in this world, thus having properties that may be experienced, just like any other object.
    [Show full text]
  • Periodization in the Bret Easton Ellis Decades
    The Privilege of Contemporary Life: Periodization in the Bret Easton Ellis Decades Theodore Martin Only the Utopian future is a place of truth in this sense, and the privilege of contemporary life and of the present lies not in its possession, but at best in the rigorous judgment it may be felt to pass on us. — Fredric Jameson, “Marxism and Historicism” He’s helping de!ne the decade, baby. — Bret Easton Ellis, Glamorama Presents and Absence Is it possible to orient the un!nished present in history? The widen- ing net of globalization and the consequent fragmentation of everyday life have made it increasingly dif!cult, as Fredric Jameson observes, to grasp the historical signi!cance of the present: “The sense people have of themselves and their own moment of history may ultimately have noth- ing whatsoever to do with its reality.”1 But it seems equally likely that this inaccurate or even impossible self-presentation has been there all along, not only under the global diffusion of postmodernity but for as long as we have divided history into past, present, and future. The ability to organize historical events into a narrative of successive epochs or ages — a process of historical retrospection generally called periodization — seems logically unavailable to the present: in the immediacy or the embeddedness of the day-to-day, there is no place from which to make the external, totalizing judgment of history. “The present,” Jameson explains, “is not yet a historical period: it ought not to be able to name 1 Fredric Jameson, Postmodernism; or, The Cultural Logic of Late Capitalism (Dur- ham, NC: Duke University Press, "##$), "%$.
    [Show full text]
  • A Retrospective Reading of Glamorama's (1998) Reception1
    Re1•ista de Estudios Norteamerica11os. 11. º JO (2004), pp. 47 - 56 WHEN CONTEXT HIDES CONTENT: A RETROSPECTIVE READING OF GLAMORAMA'S (1998) RECEPTION1 SONIA B AELO ALLUÉ Universidad de Zaragoza This essay aims at studying the reception of Glamorama (1998), the Iatest novel to date of Bret Easton Ellis, one of the most controversial contemporary US authors. The analysis of this reception and its conclusions goes well beyond the specific case of a single author and constitutes, rather, a reflection of a cultural trend that usually takes place in the reception of literary works. This study delves into a series of questions: do contemporary authors' public personae play an important role in the way their works are interpreted? Is there an obsession with considering a literary work in relation to previous works of the same author? Do reviews of literary works deal with literary merit/demerit at ali? These are questions that pop up as we analyze the type of immediate reviews that the publication of Glamorama brought forth in the media, especially newspapers and magazines. The study of this reception will be used as basis to answer these introductory questions and to examine the role that context plays in the reception of literary works. The fact that these questions arise may support the belief that literary texts cannot be studied on their own anymore. As Tony Bennett claims, when analyzing a literary work one has to take into account «that everything which has been written about it, everything which has been collected on it, becomes attached to it - like shells on a rock by the seashore forming a whole incrustation» (1982: 3) (Klinger 107).
    [Show full text]
  • AMERICAN PSYCHO by Mary Harron and Guinevere Turner
    AMERICAN PSYCHO by Mary Harron and Guinevere Turner Based on the novel by Bret Easton Ellis Fourth Draft November 1998 INT. PASTELS RESTAURANT- NIGHT An insanely expensive restaurant on the Upper East Side. The decor is a mixture of chi-chi and rustic, with swagged silk curtains, handwritten menus and pale pink tablecloths decorated with arrangements of moss, twigs and hideous exotic flowers. The clientele is young, wealthy and confident, dressed in the height of late-eighties style: pouffy Lacroix dresses, slinky Alaïa, Armani power suits. CLOSE-UP on a WAITER reading out the specials. WAITER With goat cheese profiteroles and I also have an arugula Caesar salad. For entrées tonight I have a swordfish meatloaf with onion marmalade, a rare-roasted partridge breast in raspberry coulis with a sorrel timbale... Huge white porcelain plates descend on very pale pink linen table cloths. Each of the entrees is a rectangle about four inches square and look exactly alike. CLOSE-UP on various diners as we hear fragments of conversation. "Is that Charlie Sheen over there?" "Excuse me? I ordered cactus pear sorbet." WAITER And grilled free-range rabbit with herbed French fries. Our pasta tonight is a squid ravioli in a lemon grass broth... CLOSE-UP on porcelain plates containing elaborate perpendicular desserts descending on another table. PATRICK BATEMAN, TIMOTHY PRICE, CRAIG MCDERMOTT and DAVID VAN PATTEN are at a table set for four. They are all wearing expensively cut suits and suspenders and have slicked-back Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library hair.
    [Show full text]