A friend convinced him to dry out and start writing. His tawdry tales are steeped in psychosexual obsession, and many of his characters have a dark secret of- ten incest. The author weaves fact, fiction, innuendo, and second- to-sixth-hand information into his tales. He directly contrasts real life, embel- lishes it, documents it, or omits it altogether. Edgar Hoover to one another when they may not have ever met, or riffs about what might have gone down, throwing in his characters as witnesses.
Death Trip, which was radically rewritten to create Blood on the Moon , the first of three books to feature Detective Lloyd Hopkins. His descriptions are infused with cinematic quality, which makes them ripe for plundering by Tinsel Town. Most folks first heard of James Ellroy when L. Confidential came to the- aters. After the success of L. Confidential, Hollywood clambered to cash in on the Ellroy name.
There was even a pilot for an L. Confidential television show. There was also a short film from Mitch Brian called Stay Clean , based on Killer on the Road, with a per- formance by the author. Cop James B. The focus of three novels—Blood on the Moon, Because the Night, and Suicide Hill—Hopkins is a man on the edge; an unhinged cop on the outs with his department. Think of Hopkins as a predecessor to Bud White, down to his penchant for playing Russian roulette with sus- pects in the hopes of gleaning crucial James Woods in Cop information.
Written and directed by James B. Harris Fast Walking , Cop stays faithful to the Hopkins narrative from the source material. The audience only knows as much as Hopkins, which plays as an inter- esting twist on the genre but ultimately fails. Moreover, the film ends abruptly, with no sense of closure. Where too many films fal- ter under the weight of two protagonists even most modern ensemble pieces eventually focus on one character , L.
Confidential skillfully balances three fully realized protagonists and several well-developed supporting characters. Think of L. Confidential as the Rosetta Stone of Ellroy films. Then somewhere along the way, I lost sight of that.
Con- fidential stands as one of those rare instances where there are major differences between a novel and film, but neither suf- fers due to this. Rather, novel and film are both triumphant works that stand on their own as mu- tually exclusive masterpieces. Russell Crowe and Guy Pearce in L. As boring as L. Against this late-nineties setting, the Ellroy dialogue chunks of it taken verbatim strikes a sour note.
She died not far from here. Q: Did you really remember that newspaper picture of Stephanie straddling the fold in the newspaper stand that you write in the Vanity Fair essay? A: Yes. Q: Blip? A: Blip. Q: Memory, then. I have to tell the story. What can I do for you now? I can write a piece about you and honour you and give your spirit to the world. My favourite novel of yours is The Big Nowhere, mainly because the character of Danny Upshaw sits very differently from all the queers that are in your books.
Lenny Sands, in American Tabloid, is a strong man. So, no, you know, Danny Upshaw. He comes from the movie Cruising, which is a bad movie.
What are we, three-quarters of the way through the book? A: What the outline, the superstructure, allows me to do is improvisation. It just came to me. Q: So does it matter? By establishing a fictional character, by putting him in the same room as Sigmund Freud, the father of psychoanalysis, you blur the lines between the public and the private. You see them having sex; you see them personally. Q: Is that just to sublimate his burgeoning homosexuality? When was it? What a potential story.
That was it. And I got fan letters from women who just loved Danny Upshaw. He treats people like shit. He loves to go to fights. Big guys with their shirts off? You know, you can tell. Q: Talking off the record, men hating women came up.
Why is that? A: Because they want to fuck women. Because they want to recapture the horrify- Published by Maney Publishing c W. Because the cost of true love is staggering. Women scare us. Anything that you want obsessively costs you. You also mentioned an unresolved relationship with the mother as being a reason for men having a fear of women. This is through all your novels as well, this tripartite focalising structure. One way of reading L. What is this? She talks about these homosocial structures where desire between men becomes legible when circulated through a woman.
Q: The photograph is also a vital part of your writing and so is film. I spend a lot of time alone. Q: You have photographs everywhere all over your walls. A: I spent a lot of time going to the movies. I love a good movie. Have you seen Zodiac? I had a talk to David Fincher about this. You will have a very good 2 hour and 40 minute time watching Zodiac.
You cut them off at the pass. A: Yes, but so much written about me is distorted. I was out early on with my girlfriend Kathy and she was talking about me as a perv, which was technically true. I stole pills, and bras and panties, and made sandwiches, five and ten dollar bills.
And so all over Europe and Australia they talk about me going to prison. I was in the LA County jail system.
Q: You ate some meals and put on some weight. A: Right. I failed as a boxer as a kid. So when I talk about this shit from the podium, people impute. Back in the 60s and 70s it was easy to go through the county jail system. They would rather be impressed with you, even if you tell them the truth.
For me, the big brutally honest moment in My Dark Places in terms of your childhood is sessions of mutual masturbation — A: Absolutely right.
The toughest thing to write. But I was afraid people would think I was a homo. Q: There is a particular image of women in your work. You use a very sexualized image of your mother; she appears in your books in different guises.
How do people get over it? Do you care? I had a date. She asked a couple of leading questions. It was a going nowhere relationship. I talk to my ex-wife.
Brood a lot. Get a lot of exercise. I think; I lie in the dark a lot. I have an active mental life. Go to the theatre? Go see a musical? Fuck you. What does that mean to you, to be movie-mad? Q: Narrative? All you have to possess is vision and hearing, and you get a story in an hour. Q: Back to your enormous outlines. They obviously provide a framework. Look Inside. Jul 23, Minutes Buy. The internationally acclaimed author of the L. Quartet and The Underworld USA Trilogy, James Ellroy, presents another literary masterpiece, this time a true crime murder mystery about his own mother.
In Jean Ellroy was murdered, her body dumped on a roadway in a seedy L. Her killer was never found, and the police dismissed her as a casualty of a cheap Saturday night. James Ellroy was ten when his mother died, and he spent the next thirty-six years running from her ghost and attempting to exorcize it through crime fiction. In , Ellroy quit running. He went back to L. In My Dark Places, our most uncompromising crime writer tells what happened when he teamed up with a brilliant homicide cop to investigate a murder that everyone else had forgotten—and reclaim the mother he had despised, desired, but never dared to love.
What ensues is a epic of loss, fixation, and redemption, a memoir that is also a history of the American way of violence. He is the author of the Underworld U. Confidential, and White Jazz. He lives in Colorado. Start earning points for buying books!
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