“The better you look, the more you see.”
― Bret Easton Ellis, quote from Glamorama
“Baby, when you were young and your heart was an open book, you used to say live and let live. You know you did, you know you did, you know you did.”
― Bret Easton Ellis, quote from Glamorama
“What? Did we end up hating each other? Did we end up the way we thought we always knew would? Did I end up wearing khakis because of that fucking ad?”
― Bret Easton Ellis, quote from Glamorama
“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 Ellis, quote from Glamorama
“How is your father?” she asks disinterestedly.
“A contrivance,” I mutter. “A plot device.”
― Bret Easton Ellis, quote from Glamorama
“Baby, Andy once said that beauty is a sign of intelligence.'
She turns slowly to look at me. 'Who, Victor? Who? Andy who?' She coughs, blowing her nose. 'Andy Kaufman? Andy Griffith? Who in the hell told you this? Andy Rooney?'
'Warhol,' I say softly, hurt. 'Baby...”
― Bret Easton Ellis, quote from Glamorama
“The Dave Matthews Band’s “Crash into Me” played over the montage, not that the lyrics had anything to do with the images the song was played over but it was “haunting”, it was “moody”, it was “summing things up”, it gave the footage an “emotional resonance” that I guess we were incapable of capturing ourselves. At first my feelings were basically so what? But then I suggested other music: “Hurt” by Nine Inch Nails, but I was told that the rights were sky-high and that the song was “too ominous” for this sequence; Nada Surf’s “Popular” had “too many minor chords”, it didn’t fit the “mood of the piece,” it was – again – “too ominous.” When I told them I seriously did not think things could get any more fucking ominous than they already were, I was told, “Things get very much more ominous, Victor,” and then I was left alone.”
― Bret Easton Ellis, quote from Glamorama
“Everything suddenly seems displaced, subtle gradations erase borders, but it’s more forceful than that.”
― Bret Easton Ellis, quote from Glamorama
“Confusion and hopelessness don't necessarily cause a person to act.”
― Bret Easton Ellis, quote from Glamorama
“Café Flore is packed, shimmering, every table filled. Bentley notices this with a grim satisfaction but Bentley feels lost. He’s still haunted by the movie Grease and obsessed with legs that he always felt were too skinny though no one else did and it never hampered his modeling career and he’s still not over a boy he met at a Styx concert in 1979 in a stadium somewhere in the Midwest, outside a town he has not been back to since he left it at eighteen, and that boy’s name was Cal, who pretended to be straight even though he initially fell for Bentley’s looks but Cal knew Bentley was emotionally crippled and the fact that Bentley didn’t believe in heaven didn’t make him more endearing so Cal drifted off and inevitably became head of programming at HBO for a year or two. Bentley sits down, already miked, and lights a cigarette. Next to them Japanese tourists study maps, occasionally snap photos. This is the establishing shot.”
― Bret Easton Ellis, quote from Glamorama
“Around here, ‘tomorrow night’ means anywhere from five days to a month. Jesus,”
― Bret Easton Ellis, quote from Glamorama
“when you were young and your heart was an open book you used to say live and let live.”
― Bret Easton Ellis, quote from Glamorama
Bret Easton Ellis
Born place: in Los Angeles, California, The United States
Born date March 7, 1964
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“All this freedom, but I still feel like I’m locked up.”
― Piper Kerman, quote from Orange Is the New Black
“Bertie’s my name and flirting’s my game, I’ve an eye for every girl. Don’t give a fig! I have a little chat, then give ’em a pat,”
― Jacqueline Wilson, quote from Little Stars
“Even if you are a monk, like my brother, passion or slaughter will meet you someday. For you cannot survive as a monk if society does not exist. You renounce society, but to do so you must first be a part of if, learn your decision from it. This is the paradox of retreat. My brother entered temple life. He escaped the world and the world came after him. He was seventy when he was killed by someone, perhaps someone from the time when he was breaking free - for that is the difficult stage, when you leave the world.”
― Michael Ondaatje, quote from Anil's Ghost
“Didn't you have some big deal last night?" Peabody asked her.
"Yeah, in East Washington. Roarke had this dinner / dance thing for some fancy charity. Save the moles or something. Enough food to feed every sidewalk sleeper on the Lower East Side for a year."
"Gee, that's tough on you. I bet you had to get all dressed up in some beautiful gown, shuttle down on Roarke's private transpo, and choke down champagne."
Eve only lifted a brow at Peabody's dust-dry tone. "Yeah, that's about it." They both knew the glamorous side of Eve's life since Roarke had come into it was both a puzzlement and a frustration to her. "And then I had to dance with Roarke. A lot."
"Was he wearing a tux?" Peabody had seen Roarke in a tux. The image of it was etched in her mind like acid on glass.
"Oh yeah." Until, Eve mused, they'd gotten home and she'd ripped it off of him. He looked every bit as good out of a tux as in one.
"Man." Peabody closed her eyes, indulged herself with a visualization technique she'd learned at her Free-Ager parents' knees. "Man," she repeated.
"You know, a lot of women would get pissed off at having their husband star in their aide's purient little fantasies."
"But you're bigger than that, Lieutenant. I like that about you.”
― J.D. Robb, quote from Conspiracy in Death
“Sometimes a person can say I’m sorry a thousand times and that glue will never dry.”
― Stephanie Kallos, quote from Broken for You
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