Author Topic: Bret Easton Ellis  (Read 13292 times)

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wilder

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Re: Bret Easton Ellis
« Reply #105 on: March 03, 2016, 04:07:08 PM »
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Directing again


wilder

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Re: Bret Easton Ellis
« Reply #106 on: April 26, 2016, 03:34:14 PM »
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Bret Easton Ellis to Make Directorial Debut With Cult Thriller for Fullscreen
via The Hollywood Reporter

'The Deleted' is a thriller about the disappearance of three people in Los Angeles.

Bret Easton Ellis is making his directorial debut with a new series for Fullscreen's forthcoming standalone video service.

The American Psycho author is attached to The Deleted, described as a thriller about the disappearance of three people in Los Angeles. Although they seem to be unconnected to each other, the deaths trigger the collective paranoia of a group of twenty-somethings who recently escaped from a cult.

Ellis, the bestselling author of The Rules of Attraction and Less Than Zero, wrote and produced 2013's Lindsay Lohan starrer The Canyons and has directed two short films, but The Deleted will be his first time directing a serialized project.

Additional details about the project have yet to be announced. Fullscreen is targeting an early 2017 premiere for The Deleted on its subscription video service, which launches Tuesday, April 26. The $4.99-a-month service is going after teen audiences with original scripted programming from YouTube stars like Grace Helbig and licensed TV shows and movies including Dawson's Creek and Center Stage.

wilder

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Re: Bret Easton Ellis
« Reply #107 on: May 23, 2016, 05:46:31 PM »
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The Bret Easton Ellis Podcast returns with John Carpenter

wilder

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Re: Bret Easton Ellis
« Reply #108 on: June 13, 2016, 07:30:55 PM »
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On the most recent episode of the BEE podcast he talks about American Psycho: The Musical with Duncan Shiek. Ellis said this:

Quote from: Bret Easton Ellis
“Bateman’s entire awareness that the society he is a part of doesn’t care about his crimes forcing him to imagine that maybe he didn’t commit them is a very tricky thing to dramatize on the stage…”

I haven’t read American Psycho since I was 15. I don’t remember making that explicit connection between the ambiguity of the serial killer aspect of the narrative and the wall street layer, beyond it being an extreme inflation of the depravity of the finance world. I like the way he just described it, a crime unacknowledged as not being a crime at all - what an ingenious narrative device. Dude doesn't get enough credit.

wilder

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Re: Bret Easton Ellis
« Reply #109 on: September 12, 2016, 08:01:03 PM »
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The latest episode of the BEE Podcast with Moby is one of the most interesting yet. Even Ellis’ film criticism, which I don’t necessarily agree with, is getting stronger - the connections he makes between the films he talks about and the culture at large more clear and lucid than they've maybe been in the past.

I liked this exchange from the final few minutes:


Ellis: We both left New York after having pretty long runs there…why did you leave ultimately and why did you relocate here [Los Angeles]?

Moby: I was born in Harlem in 1965 and I thought I would live in New York forever. You know, when I was growing up in the 70s and 80s everything that interested me had happened there or was happening there - whether it was The Velvet Underground or Basquiat or, I mean, my favorite books were written by New Yorkers… And then, living there in the 90s it was so — it was cheap, and it was dirty, and it was filled with artists and writers and musicians, and it felt so central: you could get to Europe easily, you get get to LA easily, you could get to South America and Asia - it just felt like this epicenter of the world. And then at some point, I guess about ten years ago, well I got sober, and I very quickly realized: New York is paradise if you’re a drunk—

Ellis: …completely…

Moby: …and kind of a difficult place to be if you’re sober.

Ellis: Completely agree.

Moby: So I suddenly realized that my priorities shifted, and I just became much less interested in the— I mean New York is a wonderful place I don’t want to demean it or denigrate it or slander it, but…it is deeply provincial, it looks in at itself. It’s essentially like a walled medieval city except the wall is water. So…New York loves New York. And New York loves the things that New Yorkers make. And they make amazing things, but as time has passed I think I just became more interested in the rest of the world. And LA, apart from the fact that it’s warm in the winter, is filled with such baffling odd people. We have David Lynch, and we have Shepard Fairey, and we have Kenneth Anger. There’s such an incomprehensible strangeness to Los Angeles. And even the geographical elements: the fact that we have 2 million acres of mountainous state parks in LA County, and we have desert, and we have bizarre beaches, and we have Latino culture and Russian culture, and so much oddness.

And I think, the main thing that keeps me here — it’s like two things. One: comfort, because you can be very comfortable here. For what you spent on a studio apartment in New York you can have a four-bedroom house with a pool and trees outside, so that’s nice, but there is a sort of byzantine strangeness to Los Angeles that never bores me. Even if LA is boring, at its core I’m not bored because I know that something odd, wrong, complicated, and baffling is going on somewhere. And to be a little esoteric about it, I like the fact that LA is one of the only cities on the planet that is surrounded by non-human environments. You know, like, when you’re in Europe, if you’re in Brussels, or you’re in New York, or you’re in Milan or you’re wherever, all your neighbors are human. You throw a rock and you hit another city. So you start having this very anthropocentric view of the universe. LA: you drive a few miles in one direction and you are in a desert that does not support human life that is millions of acres large. And there’s something existentially relevant and fascinating about that.

 

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