Quotes from Steve Erickson


Sorted by Popularity


Drawing the desperate and the adrift, Los Angeles has long been the dumping ground of dreams both real and cinematic.


You can't blame movies for embracing spectacle; filmmakers since D.W. Griffith and Cecil B. De Mille have loved spectacle, and spectacle is something that movies convey like no other medium, especially in a digital age.


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


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


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


It's not always clear whether the filmmaker intends our alienation or is even aware of it.


In journalism, as in politics, other people's lives are a currency to be bartered on behalf of notoriety and influence.


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.


If 'Fargo' is about anything, it's American madness.


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.


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


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.


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


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


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


By the nature of cinema and how it literalizes what we envision, movies can have difficulty replicating that connection we make with a classic book.


As a genre, the noir of post-World War II was based on characters who were weak or repellent, bound to let down us and themselves.


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


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


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.