The novel is final form; it's the ultimate individual final form. Television and motion pictures never get there. You'd be fabulous to think that something you write is even going to be filmed. I give it the best shot of which I'm capable. But it's more a payday for me. And if I didn't have alimony and the full-time assistant.
I kept saying, "Stop me now. It's going to my head." I got some photos. Really, I did! It's not my noblest sexual self in these moments, but I want to have fun. I want to undress. I get off my leash to go out and perform. Some other writers are just discomforted by the way I behave in public. Because they're loath to perform.
There are a lot of Ellroy lifts, man. This guy went to school. But then there's a willful thing that comes over me - God gives it to me - where I go, "That's real nice, let's just go home, pat yourself on the back, good dog, good dog, and wake up in the morning and go to work."
The 250-page outline for American Tabloid. The books are so dense. They're so complex, you cannot write like I write off the top of your head. It's the combination of that meticulousness and the power of the prose and, I think, the depth of the characterizations and the risks that I've taken with language that give the books their clout. And that's where I get pissed off at a lot of my younger readers.
I have insane curiosity as to what happened in all these events. I will never know. I'm not a researcher. I don't possess that kind of mind. I have a researcher who compiles the fact sheets and chronologies that allow me to write these big books of mine.
I'd never been interested in the Kennedy assassination until '88, when I read Libra. And from that point, I went out and bought the existing Kennedy theory books, most of which are outlandish. But what DeLillo posits - some rogue CIA guys - is the most dramatically sound, plausible explanation for it.
Well, the clues are there. They always are. Which is why when crimes are solved decades after the fact, it's obvious that the clues had always been right in front of them. A traffic ticket in Brooklyn is how they got ["Son of Sam" serial killer] David Berkowitz. You've just got to look.
I don't have a cellphone or a computer. I deliberately circumscribe my mental life within the periods that I write about, and the power of Perfidia is that it's the result of complete immersion. I was there for the two years that it took me to write that book.
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