... Because the writer resented that she had turned to me I became the handsome and dazed narrator, incapable of love or kindness. That's how I became the damaged party boy who wandered through the wreckage, blood streaming from his nose, asking questions that never required answers. That's how I became the boy who never understood how anything worked. That's how I became the boy who wouldn't save a friend. That's how I became the boy who couldn't love the girl.
Bret Easton EllisStichwörter: jealousy fiction resentment
Careless and not particularly biting, it was easier to shrug off than anything in the first book which depicted me as an inarticulate zombie confused by the irony of Randy Newman's "I Love L.A.
Bret Easton EllisI want to moan and writhe with you and I want to go up to you and kiss your mouth and pull you to me and say "I love you I love you I love you" while stripping. I want you so bad it stings.
Bret Easton EllisStichwörter: lust
He wasn't, I realized when I read those scenes concerning Blair and myself, close to any of us-- except of course to Blair, and really not even to her. He was simply someone who floated through our lives and didn't seem to care how flatly he perceived everyone or that he'd shared our secret failures with the world, showcasing the youthful indifference, the gleaming nihilism, glamorizing the horror of it all. But there was no point in being angry with him.
Bret Easton EllisStichwörter: writing jealousy fiction resentment
My nightly blood lust overflowed into my days and I had to leave the city. My mask of sanity was a victim of impending slippage.
Bret Easton EllisBut the thing I remember most about the screening in October twenty years ago was the moment Julian grasped my hand that had gone numb on the armrest separating our seats. He did this because in the book Julian Wells lived but in the movie's new scenario he had to die. He had to be punished for all of his sins. That's what the movie demanded. (Later, as a screenwriter, I learned it's what all movies demanded.) When this scene occurred, in the last ten minutes, Julian looked at me in the darkness, stunned. "I died," he whispered. "They killed me off." I waited a bit before sighing, "But you're still here." Julian turned back to the screen and soon the movie ended, the credits rolling over the palm trees as I (improbably) take Blair back to my college while Roy Orbison wails a song about how life fades away.
Bret Easton EllisStichwörter: morality writing screenplays
At first she was so inexpressive and indifferent that I wanted to know more about her. I envied that blankness - it was the opposite of helplessness or damage or craving or suffering or shame. But she was never really happy and already, in a matter of days, she had reached a stage in our relationship where she no longer really cared about me or any thoughts or ideas I might have had.
Bret Easton EllisStichwörter: jamie camden-flashback
In the movie I was played by an actor who actually looked more like me than the character the author portrayed in the book: I wasn't blond, I wasn't tan, and neither was the actor. I also suddenly became the movie's moral compass, spouting AA jargon, castigating everyone's drug use and trying to save Julian. (I'll sell my car," I warn the actor playing Julian's dealer. "Whatever it takes.") This was slightly less true of Blair's character, played by a girl who actually seemed like she belonged in our group-- jittery, sexually available, easily wounded. Julian became the sentimentalized version of himself, acted by a talented, sad-faced clown, who has an affair with Blair and then realizes he has to let her go because I was his best bud. "Be good to her," Julian tells Clay. "She really deserves it." The sheer hypocrisy of this scene must have made the author blanch. Smiling secretly to myself with perverse satisfaction when the actor delivered that line, I then glanced at Blair in the darkness of the screening room.
Bret Easton EllisStichwörter: movies adaptations
The audience-- the book's actual cast-- quickly realized what had happened. The reason the movie dropped everything that made the novel real was because there was no way the parents who ran the studio would ever expose their children in the same black light the book did. The movie was begging for our sympathy whereas the book didn't give a shit. And attitudes about drugs and sex had shifted quickly from 1985 to 1987 (and a regime change at the studio didn't help) so the source material-- surprisingly conservative despite its surface immorality-- had to be reshaped.
Bret Easton EllisThe book was blunt and had an honesty about it, whereas the movie was just a beautiful lie.
Bret Easton EllisStichwörter: writing fiction adaptations
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