Steve Erickson Quotes

Americans disagree about America because the most common consensus as to what America is or has ever been or ever was meant to be eludes us, and it eludes us because we want it to.

Lets say from the first moment of my life, everything's always been about me and nothing else, including apocalypse and chaos; let's say even apocalypse and chaos have been conceits of my psyche and bad faith
this assumes I ever kept any kind of faith at all, bad or otherwise ... Let's say I'm faithlessness made flesh, the modern age's leap of faith stopped dead in its tracks, fucking around with apocalypse and chaos only because in some broken part of me, among any wreckage of honor or altruism or commitment of compassion, or the bits and pieces of moral vanity, I really believed the abyss was always just the playground of my imagination, and I was its bully.

I got out late winter. I was off on the exact day by thirty-some hours, which is not bad calculations. I made the decision when I went in to keep track of the days, for the simple reason that it was the intention of my jailers to jettison my sense of time and place. They brought you in a metal truck with no windows and took you out in the same truck or one damned similar. The rumor was that Bell Federal Penitentiary was somewhere in the plains of the Montana-Saskatchewan annex. The sight from my cell would not have refuted this. The white of the snow and sky filled my eyes like the sheet pulled over the head of a dead man. If it was not Montana-Saskatchewan, then it was the North Pole, or the moon. It was a signal to anyone who's ever doubted the terror of an idea that almost all of us in this prison that had no time or place were utterly guiltless of a violent act, unless one counts the violence of tongues.

Some distant day, anthropologists will consider as a landmark in humankind's evolution - comparable to the capacity for destroying ourselves by nuclear obliteration - the adolescent gene's newly emergent power to dictate nightly TV viewing.

Julianne Moore and Michael Keaton began in 1980s soap operas and 1970s sitcoms, respectively, such ancient history by show business standards that you need carbon dating to measure their careers.

The pornographer? He is concerned with what the characters do, while the artist, the artist is concerned with who the characters are.

The '80s convergence of comics' new adult sensibility with the movies' advancing technology was bound to catch the attention of even slow-on-the-uptake Hollywood, and this particularly was true when 'Watchmen' and 'The Dark Knight Returns' became phenomena.

In 1957's 'There's No You,' Sinatra is suspended at the intersection of a loss he can't face and a memory he can't relinquish.

Since I've never had a dream,' she begins, 'one night I woke and went looking for one.

If I had it to do all over again ... I wouldn't change a thing.' ... the final expression of narcissism, the last gesture of self-congratulation.

In a way, all Scandinavian movies are descendants of the original Scandinavian Christian-metaphor movie, Danish director Carl Dreyer's 1928 'The Passion of Joan of Arc,' one of the seven or eight best films ever made and impossible to watch more than once.

I think most novelists I know, certainly including me, feel the novels choose them rather than vice-versa.

'Homeland' is necessarily open-ended since the idea behind television is to spend as much time as possible resolving as little as possible, with a story's usual need for resolution replaced by an unrelenting urgency that always defers answers and constantly postpones closure.

Notwithstanding the likes of 'All the President's Men' in the 1970s or HBO's recent 'The Newsroom,' film and TV have always loved to hate the press.

You keep looking around for who's in fucking charge, and there's just nobody like that at all. The cops just ride their horses back and forth through the park, up and down Fifth Avenue. Who the hell's angry on Fifth Avenue, that's what I want to know.

L.A. streets aren't just paved real estate but a cosmology, a manifestation of the city's sensibility.

Struggling to end the war and to eliminate slavery once and for all by way of the 13th Amendment, with the amendment's prospective passage undermining the effort to make peace with the Confederacy and vice versa, Lincoln embodied the Great Man theory that leftists disdain.

There's no rule that we have to like the characters movies are about.

'The Company You Keep' is about outgrowing not just the delusions that accompany youth but the harsh certainties driving our lives and then trapping them before the years outpace the velocity of our dreams.

Italian writer-director Paolo Sorrentino makes zombie movies, which probably comes as a surprise to him. At the center of his best and most recent pictures are the walking dead, characters in a race with themselves across mortality's finish line, their spirits arriving before the rest of them.

Alejandro Jodorowsky is one of the supreme nut jobs in movie history, and of course I mean that in the nicest way.

Moviemaking is a time machine: narrative spliced into fragments and reassembled into a constant present, the end of a story shot before the beginning, which is shot after the middle.

I get to the back of the house, I damn near tear the door off the hinges. It isn't an act of fury, fury isn't part of it anymore. It's more deliberate than fury yet more instinctive than deliberation.

The Movies have always been here. The Movies were here before God. Time is round like a reel of film. God hates the Movies because the Movies are the evidence of what He's done.

Beautiful women get in Hollywood's door quickest and then are shut out when their beauty no longer measures up to whatever it is that Hollywood or audiences decide is beautiful enough; once they're inside, their choices are limited by the same beauty that won them their entree.

I think we can fairly conclude that writer-director Joss Whedon didn't make 'The Avengers' for me.

Scarlett Johansson has a smile she tries to suppress in every movie she makes. She's been trying to keep a straight face since she appeared with Bill Murray 11 years ago in her breakthrough, 'Lost in Translation.'

Like all paradises, Topanga is pitched at the tipping point of promise and peril.

Ironically, if only because over the years I've known so many - from college deans to studio executives to European expats - who come to Los Angeles aspiring to nothing other than living in Topanga, I wound up there by accident.

When the thing that emerged from the collision of sex and freedom, called love, collided with the thing that emerged from the collision of time and memory, called history, the dreams began to come.

Let's say I dared to suspend myself in the moment between breaths.

Even to current-events junkies, the notion of a 24-hour news channel sounded like a gimmick when the Cable News Network launched more than 30 years ago.

Like all Americans, or like all Americans who are conscious of being American, Parker and Zema's father always believed he was his country. But lately he's come to realize that if he and his family didn't emerge unscathed from their American crisis, American faith in the early part of the twenty-first century didn't emerge at all. By the conclusion of the new century's first score of years, only those who have a stake in an American idea defined by wealth and power can still speak of that idea so shamelessly, since wealth and power is the only American idea left.

Nothing is more linear than a street; nothing has a more fixed beginning, middle, and end.

Inside every TV star is a movie star screaming to get out, and Donna Frenzel, with whom I'm guessing you're not instantly familiar, made George Clooney a movie star once and for all in the first ten minutes of his fifth feature, 1998's 'Out of Sight.'

In the culture at large, the war over science fiction's creative validity has been long since won, but guardians at the gates of literature, movies, and TV linger unconvinced, even as other genres fitfully transcend critical perceptions of insubstantiality.

The beautifully composed imagery of '12 Years a Slave' underscores the savagery of its subject, which is an American South not of knights and ladies but obscene values and a grotesque pageantry, every gorgeous shot of the languid landscape radiating toxicity like a hyperlush blossom that's poison to the touch.

David Cronenberg's 'Maps to the Stars' is a Hollywood monster movie in which Hollywood is the monster.

Slavery was the betrayal of the American Promise at the moment that promise was made.

Movie directors who have filmed F. Scott Fitzgerald's 'The Great Gatsby' believe it's a big book looming inside a small one, and they aren't altogether wrong.

In the dark, in no starlight at all, the blocks hurtled invisibly by, ejected into the night air; he heard them break but he believed it was only the echoes of broken windows, not even his broken windows but someone else's in some other city, people all over the night searching madly for those who transmitted the vague and unpersuasive frequency of destiny, not even this night but some other night that came before, from which the sound of breaking windows reached him only now like the light of novae. Ice busting in the dirt. The storm turned north.

Quentin Tarantino is my 15-year-old son's favorite director, and by that I mean no condescension to either Tarantino or my 15-year-old son.

In the end I write the novels I need to write when I need to write them.

Pablo Picasso, Frank Sinatra, Ernest Hemingway, Mel Gibson, Lou Reed, Norman Mailer, Vanessa Redgrave, Van Morrison - each is distinguished by controversies unrelated to his or her art; by many accounts, some of them are not nice people at all.

What we call 'the news' always has tried to tell a story, and it's always told the story it wanted or, put most positively, whatever story it believed needed telling.

You're in the lights and he thinks you're exposed, he's in the dark and he thinks he's hidden. But he's not hidden, he's dead, and you're not exposed, you're alive.

That's editing, if I may say so. Choosing the shot. It's telling us everything. It's telling us things we don't even know it's telling us. It's not just telling us what these characters think, it's telling us what we think. It's manipulative as hell, there's no getting around it, but then all movies are manipulative. When people complain about a picture that's 'manipulative,' what they really mean is it's not very good at its manipulations, its manipulation is too obvious.

Every thought and word that a novelist thinks or writes is part of that castle constructed from sands on the beach of Me, including the turret or rampart or moat he may have thought or written on behalf of someone or something else.

1939. Love rages. It cries out from you, seething and red; I come back for more and more.

The notion of artistic responsibility begs questions with no satisfactory conclusions, the most inevitable and ineffectual being that we should just keep thinking and talking about it, given that the alternative - a governmental body monitoring the movies we make and see - is unacceptable.

For a writer, the Book Festival is interesting because you bump into all these other writers whose work you know, whose names you know, and you have a chance to put a person with the name and the work.

The Doors formed on the beaches of Los Angeles, in what you might imagine is the tradition of local rock bands since the Beach Boys.

To an extent, our relationship with the movies is always subjective. Our capacity to be involved says as much about each of us; I've never fathomed why anyone would want to spend four hours in the company of the exceedingly tiresome Scarlett O'Hara.

I own one movie by fellow Swede Ingmar Bergman, because I have to. You can't be a movie critic with a collection of six or seven hundred DVDs that includes everything from 'Tokyo Story' to 'Poison Ivy: The New Seduction' and not have a Bergman movie.

I'm not sure there's a difference between books that affected the way I see the world and books that influenced me as a writer.

Though energy and inspiration diminish, experience grows - the theme of parents and kids, for instance.

At the age that I was when I stopped reading comics, and with a set of talents that would seem to mark a future comic-book auteur, my son has had only a passing enthusiasm for the medium.

Two subsequent incidents of import established CNN: the explosion of the space shuttle Challenger in 1986, which CNN was the only network to cover as it happened, and the 1991 Gulf War, which CNN chronicled round the clock from a proximity as irresistible as it was alarming, bomb blasts and gunfire lighting up TV screens from coast to coast.

Isn't it weird when that happens?' says Zazi. 'It's like the first time I heard the second Pete Ubu album and thought it just blew completely, I thought anyone who liked it must be stupid and full of shit--and then for about a year it was practically the only album I listened to. It was the only album that made any sense at all. So why does that happen? The music hasn't changed. The movie hasn't changed. It's still the same exact movie, but it's like it sets something in motion, some understanding you didn't know you could understand, it's like a virus that had to get inside you and take hold and maybe you shrug it off--but when you don't it kills you in a way, not necessarily in a bad way because maybe it kills something that's been holding you back because when you hear a really great record or see a really great movie, you feel alive in a way you didn't before, everything looks different, like what they say when you're in love or something--though I wouldn't know--but everything is new and it gets into your dreams.

Among the mysteries of the creative ego is how the transcendence of what artists do is their own response to the darkness of who they are, and the same personal darkness that is at odds with the art is what propels artists to the light of what they create.

The instant that movies became described as character driven was the instant when characters stopped mattering in movies. In other words, the birth of the notion of the character-driven movie coincided with the birth of movies in which characters were incidental to the very activities in which they engaged.

Part of the process of reading is constantly hitting the pause button, and now and then the rewind button, to ponder a word that's been chosen by the author as exquisitely as the filmmaker chooses an image or a sound editor chooses a sonic clue - the tolling of a bell in the distance to evoke memory, for instance.

America One," came Wade's voice from the big shadow, "or America Two?

Created by writer Beau Willimon, who's worked on several political campaigns, 'House of Cards' cannily exploits the current widespread cynicism for our politics, catering to a public scorn that's warranted and also glib in the sort of cheap pox-on-both-houses way that means not having to pay attention.

I began composing the next poem, the one that was to be written next. Not the last poem of those I had read, but the poem written in the head of someone who may never have existed but who had certainly written another poem nonetheless, and just never had the chance to commit it to ink and the page.

'Lincoln' is impressive enough to almost make you forget how much Daniel Day-Lewis dominates the endeavor.

Meryl Streep and Julia Roberts act themselves senseless in 'August: Osage County,' and by the time they're finished, they've acted their movie senseless, too.

He had thrilled to his own power only in the throes of sex, when he didn't have the presence of mind to know that pleasure wouldn't last forever, and in the flush of freedom, when he was too innocent to know he wasn't free.
Now he seized the power that came from that collision of sex with freedom called love.

The material dictates the approach. I tell the stories in the way that feels natural to tell them. Certainly the last thing I want is to be "difficult."

Can anything be less cool than defending the motion picture academy?

If Marxist theory dictates that the personal is always political, the rebuttal of both 'The Americans' and 'House of Cards' is that the political is always personal: the sum total of our collective needs and desires, vows and betrayals.

Before movies, memory unspooled differently in the mind, trailing off in dust-blasted fade-out rather than spliced-together flashback; before photography, memory rippled like a reflection on water's surface, less precise but more profoundly true.

White Americans believe we've made more progress since the end of slavery in 1865 than do black Americans for whom '12 Years a Slave' documents a collective memory, passed down in the genes and by the lore of generations.

Even if you haven't seen 'The Seventh Seal,' you've seen it. The influence is so vast and insidious, every image of a black-robed, white-faced Death is a rip or parody of 'The Seventh Seal.'

In retrospect, 'Pulp Fiction' isn't just the template for everything Tarantino has done but the yardstick by which everything else he does is measured one way or another.

But of course the Western changed along with America's view of itself, from some sort of heroic country, where everybody's free, to the spiritually fucked-up defiled place it really is, and now you got jive Italians, if you can feature that, making the only Westerns worth seeing anymore because white America's just too fucking confused, can't figure out whether to embrace the myth or the anti-myth, so in a country where folks always figured you can escape your past, now the word is out that this is the country where you can do no such thing, this is the one place where, like the jive that finally becomes impossible to distinguish from the anti-jive, honor becomes impossible to distinguish from betrayal or just, you know, stone cold murder ...

He held to it in the way of a man who holds the string of a kite that is so high he can't see it anymore, knowing that any moment it may break and the only way he will know it has broken will be by the sudden ripple of the string as it dances slowly groundward.

Condemning art as manipulative is a non sequitur, of course. All art is manipulative.

You are surrounded by signs," she said. "Ignore none of them.

The first books I remember having an impact on me when I was a kid were L. Frank Baum's 'Oz' books, which were much stranger than the movie: at once rather whimsical and really dark.

A modern fascination with the fantastic seems to come along every couple of generations, usually at a point when we're future saturated.

I don't find perfection especially interesting. Art is not all about refinement and formal accomplishment. It is about passion and imagination and courage and these things that I didn't understand when I was kid being taught the rules. I realized that a novel could be. . .art could be. . . what I wanted to make it if I could pull it off.

For half a century, the Sunset Strip was the asphalt timeline of American popular music. My most distinct memory, from more years ago than I'll confess to, is waiting for a table at the Olde World, which occupied a wedge of territory at Sunset and Holloway Drive, where the daiquiris became more vicious the longer you sat in the sun.