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‘American Psycho’ Broadway Musical Moving Forward

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The brewing tuner adaptation of “American Psycho” has found its creative team, with Duncan Sheik penning music and lyrics and scribe Roberto Aguirre-Sacasa writing the book. A 1991 Bret Easton Ellis novel that centers on a Wall Street banker who’s also a serial killer, “American Psycho” incorporates multiples references to the popular music of the 1980s, the era in which the story is set. Producers have said they expect the original score to share that 80s flavor. Read on for more.
Sheik nabbed a 2007 Tony as the composer of “Spring Awakening.” He also is at work on legit projects including “Nero” and “Whisper House,” which recently opened at the Old Globe in San Diego.

Aguirre-Sacasa, a writer on HBO skein “Big Love,” has penned plays including “Based on a Totally True Story,” “Good Boys and True” and “Dark Matters.”

“Psycho” was previously adapted into a 2000 Lionsgate pic toplined by Christian Bale.

Tuner is the first stage offering from the Johnson-Roessler Company, the shingle that paired former MGM senior exec David Johnson and former MGM TV exec Craig Roessler. The pair produce with Jesse Singer for Johnson-Roessler, along with The Collective’s Aaron Ray and XYZ Films’ Nate Bolotin. Ellis and Edward R. Pressman are consulting producers.

No production timeline for the developing musical has yet been nailed down.

American Psycho

Horror movie fanatic who co-founded Bloody Disgusting in 2001. Producer on Southbound, V/H/S/2/3/94, SiREN, Under the Bed, and A Horrible Way to Die. Chicago-based. Horror, pizza and basketball connoisseur. Taco Bell daily. Franchise favs: Hellraiser, Child's Play, A Nightmare on Elm Street, Halloween, Scream and Friday the 13th. Horror 365 days a year.

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‘Phantasm’ – Why the Horror Classic’s Exploration of Death Still Resonates 45 Years Later

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As Benjamin Franklin famously wrote, “In this world nothing can be said to be certain, except death and taxes.”

The horror genre offers a controlled environment in which viewers can reflect on their own morality, whether it be via catharsis or escapism, but a personal loss can complicate one’s relationship with horror. Even the most hardened of fans may struggle to find comfort in the genre after experiencing the death of a loved one.

45 years ago today, Phantasm helped viewers confront death head-on while subtly exploring the grief that accompanies it. In the film, 13-year-old Mike (A. Michael Baldwin) convinces his older brother-turned-guardian Jody (Bill Thornbury) and their affable neighborhood ice cream man, Reggie (Reggie Bannister), to investigate a mysterious mortician dubbed The Tall Man (Angus Scrimm).

Phantasm was the third feature from writer-director Don Coscarelli (The Beastmaster, Bubba Ho-Tep). The seed was planted upon witnessing the audience react to a small jump scare at a preview screening for his previous effort, the 1976 coming-of-age tale Kenny and Company. Chasing that jolt of adrenaline, he challenged himself to make a movie that delivers scares regularly throughout.

The independent production was shot in 1977 on weekends over the course of nearly a year in and around southern California’s San Fernando Valley. The 23-year-old Coscarelli shrewdly rented the film gear on Fridays and returned it Monday morning, getting three days of work out of a single day’s rental fee. When all was said and done, the film cost an estimated $300,000.

Unable to afford a full crew, Coscarelli also took on director of photography and editing duties. His father, Dac Coscarelli, receives a producer credit for providing a large chunk of the film’s funding. Additional financing was invested by doctors and lawyers, accruing a total estimated budget of $300,000. His mother, Kate Coscarelli, served as production designer, wardrobe stylist, and makeup artist under different pseudonyms, and she later wrote the novelization.

Hot off the success of John Carpenter’s Halloween, AVCO Embassy Pictures purchased Phantasm for distribution. It was released on March 28, 1979 in California and Texas before expanding to other territories and becoming a box office success. It spawned four sequels, with Coscarelli and the core cast on board throughout, along with a cult following that counts Quentin Tarantino, Rob Zombie, Snoop Dogg, and JJ Abrams (who named Star Wars: The Force Awakens‘ Captain Phasma in its honor) among its ranks.

PHANTASM Remastered

The film embraces nightmare logic – in part by design, as Coscarelli drew influence from Suspiria; partly the result of extensively editing down an overlong first cut to a tight 89 minutes. The it-was-all-a-dream ending is a rare one that doesn’t undermine the entire movie that preceded it. Not every plot point is spelled out for the viewer, and some dots may not completely connect, but the narrative is conveyed in such an engrossing manner that it hardly matters.

A particularly striking pair of back-to-back sequences occur at the conclusion of the first act. Following a late-night graveyard excursion, the camera pulls out on a shot of a sleeping Mike to reveal his bed in the cemetery with The Tall Man poised over him while ghouls attack from their graves. The next day, Mike witnesses The Tall Man affected by the chill of Reggie’s ice cream truck via a spine-tingling slow-motion zoom.

The special effects also shine, from flying metallic spheres that suck the blood out of victims’ heads to lifelike severed fingers that bleed viscous yellow gore. The visuals are supplemented by progressive music composed by Fred Myrow and Malcolm Seagrave, to whom Coscarelli recommended electronica maestro Vangelis and Pink Floyd’s Dark Side of the Moon. Despite its repetition throughout the film, the power of their haunting musical theme is never diluted.

The cast was populated by amateurs, but occasionally hammy performances are far outweighed by naturalistic character moments, best exemplified by the scene in which Jody and Reggie jam on their guitars together. In addition to serving the plot by introducing the tuning fork that plays an integral role in the finale, it allows the viewer to better connect with the characters, thereby making their peril all the more frightening.

It’s character building like this that makes Phantasm‘s exploration of death so effective. The film is ultimately about Mike coming to terms with the passing of Jody, portrayed as the cool older sibling every adolescent wishes they had. Mike confronts his fear by dreaming up a final adventure with his dearly departed brother in which they manage to defeat death itself, represented by The Tall Man. Upon doing so, he’s awakened to the harsh reality that Jody died in a car accident, allowing Mike to reach the final stage of grief: acceptance.

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