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Bret Easton Ellis

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Reply #120 on: July 09, 2019, 11:12:10 AM
I finished White, which I thought was a great and engaging read, and decided to read reviews to see how they treated the arguments made in the book—how naive of me...The review from The Guardian is especially shameful. It contains errors, it has random quotes without the context, in order to make it sound ridiculous.

But I also found an article about these non-reviews. It's quite interesting. I like what it says about reviewers using a Twitter voice to dismiss what they're reviewing. It seems insane to me that you can write a review in The Guardian without doing the work; because, look, a real negative review of White would be fascinating. The fact that Ellis says, himself, that he doesn't care about politics is helpful, he analyzes the reactions of an elite—the one he's living with, the one he's a part of—and that's fascinating—but the actual effects of politics on the world don't register to him, it's all virtual. And yet, what he describes is political, too. He's in the bubble and outside of the bubble—so he can see things, or be a witness for us, while having his blindspots. Anyway, I'm annoyed that it did not spark discussions; instead, it was just mocked. Ellis has a Twitter voice that I find distateful, but his essay voice is not his Twitter voice; other writers should be aware of that distinction in their work...

Here is the article about the reviews: https://thewire.in/books/bret-easton-ellis-white-review/amp/

tl;dr What I mean is that what made the reading exciting was as much the part I strongly agreed with than the parts I disagreed—it was serious and funny, but not annoying even if I rolled my eyes twice.

Totally agree, am just finishing it up myself. The bulk of the negative reviews completely mischaracterize the nature of the book, which is more concerned with film theory than anything else, save for a few sections addressing the cultural fallout resulting from the 2016 campaigns and election. I skimmed through much of what rang familiar, as indeed large chunks are lifted from various monologues from the podcast, if re-fitted somewhat to make for a more palatable reading experience. And while I find myself disagreeing with him here and there, he's never less than engaging. The outrage this was greeted with was silly and unfounded, and makes me question whether or not any of these so-called critics actually read the damn thing...

And Drenk, thanks for linking that article, I quite appreciated it.
If I could move the night I would
And I would turn the world around if I could
There's nothing wrong with loving something you can't hold in your hand
You're sitting on the edge of the bed, smoking and shaking your head
Well there's nothing wrong with loving things that cannot even stand
Well there goes your moony man
With his suitcase in his hand
Every road is lined with animals
That rise from their blood and walk
Well the moon won't get a wink of sleep
If I stay all night and talk


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Reply #121 on: July 27, 2019, 05:38:03 AM
Quote from: the podcast
Bret Easton Ellis: Your process in terms of creating a character that you’ve just read…I mean, you often work with people who allow you a kind of creative freedom to reimagine that character that’s just there in stage direction and dialogue…

Jonathan Tucker: I don’t think it’s ‘reimagining’, though. I really think you have to try to understand the subconsciousness of the writer. That’s where I think I start in terms of where the character’s gonna come from. And a lot of that is…of course it’s detective work, but if you think about how you dream: you’re the only person in the dream, the dream comes from the subconscious. Everybody in the dream is a reflection of you, so you need to look at a script that way - that everybody’s fears or impetuses or concerns are also somewhat of a reflection of your character’s. So the entirety of the script is the subconscious of the writer, and it’s my job to try to interpret that subconsciousness.


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Reply #122 on: August 19, 2019, 06:59:52 PM
Anna Khachiyan and BEE

The episode openz with BEE describing the 10-episode, multi-POV Manson Murders series he developed in partnership with Rob Zombie. It spans the Beach Boys, Spahn,  Linda Kasabian and Manson's meeting at Universal to pitch a doc on his own cult, all the way up to after the trial.

"Spahn Ranch meets the Polo Lounge" sez BEE 


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Reply #123 on: August 19, 2019, 07:12:56 PM
Tarantino should do a movie about writers who live by writing unproduced scripts. In parallel with Fincher buying a house with the money he got from "developing" World War Z II.
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