A Quote by Roger Avary

Bret Easton Ellis is a social satirist; I consider myself aligned with how he does things. Bret doesn't write about that which he loves about the world, he writes about what disgusts him. You'd be a disturbed individual if you came out and said, 'I love these characters'.
I know Bret Easton Ellis has said he has some amount of empathy for every character he has written about, though, so maybe I am similar to him in terms of that. I'm not sure what he thinks exactly.
I love the novels of Didion and Bret Ellis and consider them L.A. writers because they write about L.A.
I think Bret Easton Ellis has said that he doesn't completely identify with his characters. And I think he has referred to them as immoral before.
I wouldn't think of my characters' moralities at all. And I think I identify fully with every main character I've written about and would say that I am them pretty much. So in terms of that I don't think I'm similar to Bret Easton Ellis .
I remain a fan of my friend Bret Easton Ellis's 'American Psycho.' I think as a book about New York in the '80s it was pretty excellent.
My publisher had mailed [Bret Easton Ellis] Richard Yates. And when I talked to him he said he had read all my prose books. And he said something like, "You got a lot of mileage out of Dakota Fanning."
I like Bret Easton Ellis' sense of humor. I feel like mine is sometimes similar to his. And how his characters sometimes seem really confused in a humorous manner. I like that. And I have that sometimes in my characters.
As far as fiction goes, as far as everything from Dr. Seuss to Oscar Wilde to Bret Easton Ellis. Ray Bradbury. There's just tons of stuff that I love. Neil Gaiman!
I think it's dangerous to think you know what you're writing. I usually don't know, and usually I just discover it in the course of writing. I envy those writers who can outline a beginning, a middle, and end. Fitzgerald supposedly did it. John Irving does. Bret Easton Ellis does. But for me, the writing itself is the process of discovery. I can't see all that far ahead.
I'm really shocked when critics get morally outraged at my fiction because they think I'm condoning what's going on. I never come in as the author and say, "Hey, okay. I'm interrupting the narrator here. I'm Bret Easton Ellis, and I'm the author."
As a piece of writing, The Elementary Particles feels like a bad, self-conscious pastiche of Camus, Foucault and Bret Easton Ellis. And as a philosophical tract, it evinces a fiercely nihilistic, anti-humanistic vision built upon gross generalizations and ridiculously phony logic. It is a deeply repugnant read.
Brands are useful ways of short-handing practically anything - look at the way Tom Wolfe first used brand name lists to sharpen up a character and a situation. Look at the most brand-referenced novel, Bret Easton Ellis's 'Glamorama.
Brands are useful ways of short-handing practically anything - look at the way Tom Wolfe first used brand name lists to sharpen up a character and a situation. Look at the most brand-referenced novel, Bret Easton Ellis's 'Glamorama.'
Sometimes I would take Nietzsche or something. And I wouldn't read it, but more just scan the words. Sometimes I would get whatever the popular thing at the time was. I don't know, something like Bret Easton Ellis. It was just a very random, inefficient education.
I don't write about love because it makes for easy, passive heroes. I write about how love makes my characters more autonomous, more self-possessed, more opinionated and powerful. I write about characters who pursue relationships that make them the people they want to become. I write about love as a superpower.
Bret 'the Hitman' Hart from circa, say, 1997, the U.S.-bashing Bret Hart, would have to lay a beat down on John Cena, I think.
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