Glamorama Quotes

“The better you look, the more you see.”
― Bret Easton Ellis, Glamorama

“How is your father?” she asks disinterestedly.
“A contrivance,” I mutter. “A plot device.”
― Bret Easton Ellis, Glamorama

“Everything suddenly seems displaced, subtle gradations erase borders, but it’s more forceful than that.”
― Bret Easton Ellis, 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, 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, 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, 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, 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, Glamorama

“Confusion and hopelessness don't necessarily cause a person to act.”
― Bret Easton Ellis, Glamorama

“when you were young and your heart was an open book you used to say live and let live.”
― Bret Easton Ellis, 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, Glamorama

“It's really about the will to accomplish this destruction and not about about the outcome, because that's just decoration”
― Bret Easton Ellis, Glamorama

“The better you look, the more you see”
― Bret Easton Ellis, Glamorama

“I don't trust anyone named Gavin.”
― Bret Easton Ellis, Glamorama

“Have you ever wished that you could disappear from all this?”
― Bret Easton Ellis, Glamorama

“It’s not his girlfriend. It’s Princess Toadstool. And it’s not a gorilla,” I stress. “It’s Lemmy Koopa of the evil Koopa clan. And baby, as usual, you’re missing the point.” “Please enlighten me.” “The whole point of Super Mario Bros. is that it mirrors life.”
― Bret Easton Ellis, Glamorama

“Around here, ‘tomorrow night’ means anywhere from five days to a month. Jesus,”
― Bret Easton Ellis, Glamorama

“-Credi che ti stia mentendo? - chiedo.
-No,no - dice Bobby. - Credo soltanto che nella tua verità ci sia un buco.”
― Bret Easton Ellis, Glamorama

“-Tu passi la vita a cercare di far colpo su gente che ha fatto colpo su di te, ecco perchè.
-Dovrei forse cercare di fare colpo su gente di cui non me ne frega niente?
-Forse la gente su cui vuoi fare colpo non vale un cazzo.”
― Bret Easton Ellis, Glamorama

“-Papà, è tutto sotto controllo.
-Come fai a dirlo? -domanda. -È soltanto squallido, Victor. Squallidissimo.
-Papà, la vita è squallida.
-Ma il primo premio non lo devi vincere proprio tu.”
― Bret Easton Ellis, Glamorama

“Okay, even though you think Erasure is a good band, I think I can still trust you.” “They are, Victor, and—”
― Bret Easton Ellis, Glamorama

“So many people we vaguely knew died or disappeared the weeks we were there—car accidents, AIDS, murders, overdoses, run over by a truck, fell into vats of acid or maybe were pushed—that the amount for funeral wreaths on Chloe’s Visa was almost five thousand dollars. I looked really great.”
― Bret Easton Ellis, Glamorama