Here's more from the event page:

We start the evening with Mary Harron’s 2000 cult classic American Psycho starring Christian Bale as Patrick Bateman, an investment banker who attempts to hide his serial killer impulses as he descends into hedonistic violence, in a deeply satirical look at 1980s New York.

The second movie of the evening, 1984’s Body Double, is cited throughout Bret Easton Ellis’s original American Psycho novel as Patrick Bateman’s favourite film (Bateman mentions that he has seen the film 37 times and rents the tape of it from a video store several times in the story, and also repeats scenes from the film to the reader or to other characters). Directed by Brian DePalma (other works include Carrie, Scarface, The Untouchables, Carlito’s Way) and influenced by Hitchcock classics Rear Window & Vertigo, Body Double follows an out of work actor as he delves into the seedy world of adult entertainment in order to solve a murder he witnesses in the Hollywood hills. A vibrant 80s neo-noir thriller it’s an unashamed celebration and examination of the most superficial of decades. Tickets on sale now.

Petra Collins: What is your current obsession or ‘fetish’?

Selena Gomez: Right now, I have a fetish for Brian De Palma films. The way he shoots women is so sexy. I’m printing out pictures to hang up in my new house right now. Melanie Griffith in Body Double. So sexy.

Petra Collins: Oh my God. Brian De Palma. I love him. I’m with you on that one, that’s my fetish right now too.

April Wolfe: So I wanted to talk a little bit about these extras scenes.

Barbara Crampton: Yeah...

April: It's one of the things that we actually rarely talk about when it comes to Raw, but it makes it so, so good, and something you brought up, when they do the hazing rituals...

Barbara: Right...

April: Ducournau personally cast all three hundred of them.

Barbara: No way...

April: Yes. Exactly. So you hear Barbara's shock at that-- that doesn't happen. There's usually a casting person who does the extras casting.

Barbara: Yeah (laughing), it's whoever's available.

April: Yes!

Barbara: Because you don't get paid a lot!

April: No! So she personally cast all three hundred of these extras-- like, she was single-handedly constructing this veterinary school. She said she tried to keep their characters in mind, and use them in scenes that would fit with how they had appeared in other scenes, really building their characters. And, you know, it made for a better, fuller film. It felt realistic.

Barbara: Yeah.

April: But also, it was a way to get the extras invested in the film, because they would have to be there for the full 37 days of shooting, which is a huge undertaking if you're an extra.

Barbara: Oh my God, yeah, you want to feel like you're a part of the project. That's so smart!

April: It is! And I thought it's honestly so wonderful when a director takes that kind of care with every actor on set, no matter...

Barbara: Who they are-- yeah...

April: Exactly. Even if you have a small part. I was thinking in terms of your role in De Palma's Body Double.

Barbara: Mmm-hmm...

April: Because I had read some interviews with you where you had said that, like, they did so many takes, and he was so interested in getting the scene right, and you got to work with him on so many things. And even if some of that stuff got cut out, you were still, you know, working towards kind of a perfect moment.

Barbara: We actually did that scene all day. I mean it was all day. From different angles. Forty takes from all different angles. It was hundreds of takes. It was incredible. I will say, when I first got that film, there were two other scenes in the movie that I had dialogue in. And the night before I was to start shooting, I got a call: "Oh, oops, they cut the dialogue scenes. You only have this one scene with Craig Wasson in bed." And I thought, hmm... was this on purpose? Or, is this legitimate? But it's Brian De Palma, so I should work with him, and it was great to be with him on set, and I did it and it was super fun.

April: It was really early in your career, too.

Barbara: I think it was like the first thing I actually did on film, because I was on Days Of Our Lives for about a year, and that was my first job, and I think that was my second job.

April: What do you think you learned from that set?

Barbara: To relax, and to just have no fear. I mean, that was the first thing... because everybody was just kind of laissez-faire in a way. You know, when you're making a movie, and I just said, oh, you have to hurry up, you have to go, and you have to be right on point, and you do... and I'm sure even on a film like that, you have to be on point, but it felt like I... I could see the other actors who were on set, they... they were really calm. And relaxed, and I think you want to feel secure, and centered, and it was nice to see everybody on set just, you know, doing their job, but, and fast, but relaxed. You have to be relaxed.

April: [laughter]

Barbara: Well, I like relaxing, so that's good for me to be reminded of that all the time.

[You might think Wolfe is laughing because Crampton has brought up the title of the Frankie Goes To Hollywood song that features in Body Double, but no-- her laughter comes from picturing the actors in Raw being relaxed while making such an intense film]

Previously:
Crampton shares details of two dialogue scenes cut from Body Double

Crampton: "I am still waiting for that call from Brian De Palma"

She had come to Brian's attention during the winter before Body Double started shooting, when Howard Gottfried, the executive producer, went to the Consumer Electronics Show in Las Vegas. The X-rated home video marketers had been denied space on the convention floor, but their wares and their stars were available in hotel rooms close by.

Howard threw up his hands. "Can you imagine, I went to Las Vegas with my casting lady to look at porno movies?! Can you imagine, I go in, I say..."--he straightens his jacket which he always wears with jeans and cocks his head like David Niven--"... Uh hello, I am from Columbia Pictures and I would like to talk with you about a major motion picture.... I mean, they look at you like you're some kind of lunatic!"

It is true that Howard Gottfried is not the sort of man you would ordinarily imagine as a sex scout. A voluble New Yorker with a burning concern about social issues, he made his name in the film industry as the partner of Paddy Chayefsky in such literate and relevant films as Hospital and Network and Altered States. Culturally and intellectually, Howard was made a little crazy by the porn connections of Body Double, all the more so because unlike Brian, unlike Steve Burum, the director of photography, and Joe Napolitano, the first assistant director, Howard Gottfried had children. Howard was the one who had to go home to his family in New York and be assaulted by feminist friends at dinner parties who wanted to know if it was true, was Howard really making a pornographic movie?! ... It was lucky for Howard, therefore, that he had a sense of humor. And Brian De Palma's sense of humor meant as much to him as any other element in the movie.

"Why do they say Brian hates women more than other filmmakers?" Howard asked. "Saturday Night Fever treated women like pieces of meat. And look at Flashdance. Sure she had a job, she had ambition, she was liberated. But how does she show us she's liberated? When the ex-wife stops at the table and asks, 'What do you two do?' she answers 'We fuck our brains out.' It's insulting to women because it means to be a serious portrayal. Now, look at this scene in Body Double with Linda Shaw. Is this a serious portrayal? They're both on these water beds and she's massaging her breasts in this television interview and she's screaming, 'I'm coming! I'm coming!' and the interviewer says, 'So while she's coming, we'll break fr this clip.' Now that's funny. That's fun-nee! How can all these women despise a guy who's as funny as that?!"