Started by children with angels, June 17, 2003, 08:59:29 AM
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Quote from: Drenk on July 08, 2019, 07:48:02 PMI 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.
Quote from: the podcastBret 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.
QuoteLee Smith: I spent a lot of my childhood [in NY in the 70s], starting at the age of 12, my adolescence, on the subways. I started hanging out with graffiti writers. I was writing graffiti. That really hit New York in the mid-70s. And you can look back at some of the different photo books of the period and looking back on it most of it was just horrific and horrible and depressing, but there were also different things...I've written about it once or twice, but for me it was the first artistic experience I ever had, by which I mean, it didn't need to be explained to me. [...]Lee Smith: When you talk about 70s movies --I remember very vividly-- we went to go see The Conversation, which I just saw again recently, about two months ago -- which was just wonderful because there was something...it was the atmosphere. There was all sorts of stuff that was over my head: the romantic intrigue, the things that are really at the heart of that movie - the betrayal, the cruelty of it. But there's also something about the atmosphere which is very appealing to a kid...they're spying on someone else...BEE: Well you're locked into the fear of it.Lee Smith: Right.BEE: You get it, as a kid. You get it as a teenager. You get the 'fear' of it.Lee Smith: That's the feeling. And there's something secret going on, and there are people who are watching...BEE: One of the things that makes that movie kind of unsettling and scary is that it was one of the first movies where I realized that I wasn't watching the movie alone. And one of the reasons I loved movies so much as a child and as a teenager was that they offered an intense voyeuristic experience. They allowed you to watch secret things you're not supposed to be seeing. I think all movies are about secret narratives that you're not-supposed-to-be-seeing. And one of the things about The Conversation is that, yes, you're seeing this, but people know more than you do. And there is something else going on, there's an even bigger secret going on. Other people are watching what you're watching and they're kind of controlling it in a way that you as the viewer, who usually feel pretty good about controlling the image because you're the voyeur, you're not trapped in the dynamics of the plot or the mayhem that's happening...that's what's so great about the 70s movies: they feel very unsafe. There's a larger element at play that's very....dangerous.Lee Smith: That's very interesting, just looking back at what it's like as a kid or a teenager...because you have the danger, and you have the secret, but also there's something larger than you: 'this is what adulthood is like'. There's something serious about adulthood, and 'here's what you need to do to have access to that, to approach it correctly, to do these different things...'BEE: And there were so many movies like that. And I think growing up in that atmosphere really was something that led you into the world of adults. I wanted to become an adult. I wanted to become entangled in the mysteries of the adult world.
QuoteA sensational new novel from the best-selling author of Less Than Zero and Imperial Bedrooms that tracks a group of privileged Los Angeles high school friends as a serial killer strikes across the city.Bret Easton Ellis's masterful new novel is a story about the end of innocence, and the perilous passage from adolescence into adulthood, set in a vibrantly fictionalized Los Angeles in 1981 as a serial killer begins targeting teenagers throughout the city.