This sequence starts with a slow panning medium – long shot which establishes that the scene is inside Bateman’s (played by Bale) office during the day as he is listening to his music privately. Next we are introduced to a woman (Bateman’s secretary, Jean) who walks into his office and begins a conversation with him. This is a very short conversation with just three shot types; the master two – shot of both characters and two mid – close – up shots of Bateman and Jean each. The cut from MCU of Jean to the MCU of Bateman appears very seamless as it follows the 180 Degree rule, definitely doesn’t break the 30 Degree rule as these shots are very different and is a single reverse – shot to show the character’s expressions signifying the relevance of their dialogue.
After Jean goes to get Detective Kimball (Dafoe) and leaves, Bateman has a fake conversation on the phone. During this, the camera cuts between MCUs from Bateman to Kimball and back to Bateman. Although there is no dialogue, this shot – reverse – shot is used to show the impression that each character gets of each other. After Bateman hangs up, the camera zooms out to a mid – shot so that this conversation is no longer “anything important”. Suddenly this cuts to close – up shot – reverse – shots for shock value and to put the audience directly in the action (and to represent Bateman’s state of mind, but this isn’t important in this analysis of continuity).
When Detective Kimball starts to discuss Paul Allen’s disappearance, Bateman starts to change the subject (because Bateman killed him) by calling Jean to bring Kimball a glass of water. When Jean does come in, Bateman grabs a coaster in a long shot and places underneath the glass before she puts it down in a CU. This match on action appears very smooth as the first shot ends where the second shot begins. The reason this shot was done however was to bring the audience’s attention to coaster (because we learn that Bateman is very cautious towards his belongings, in this case, the desk’s surface).
The conversation resumes again when Jean leaves and there are several POV and Over – The – Shoulder, MS, Shot – Reverse – Shots of the opposite person as they discuss Bateman’s details. When Bateman is complimented by Kimball; “Nice, very nice.” it cuts to a CU of Bateman’s reaction to break up the continuity a bit on purpose. Conversation resumes in mid – shots before cutting from MS to MCU to CU gradually. This shot order keeps the continuous appearance for the line “Do you feel like that?” suggesting it’s importance. This technique is done again with other important quotes later on in the sequence; the most important being: “It’s just strange. One day, someone’s walking around, going to work, alive and…” At the end Bateman and Kimball get up, Kimball leaves and Bateman shuts the door, resting on it in just 2 shots to slow down the pace rapidly giving the audience (and Bateman) a chance to ponder the conversation.
(Please note, this analysis only applies to only the first 5 minutes, 32 seconds of the sequence)
