i read white noise. always dead impressed by the fact that brian eno designed its cover, though that he composed the microsoft start-up noise never quite tipped me over into being a windows user (http://www.coolcatdaddy.com/rand/observations-mssound.html)Ned said:Any fans? I've read four of his books (White Noise, Americana, Underworld, and Great Jones Street) and I eventually hope to get through all the rest. Best prose in the 20th century if you ask me.
gurgle, yes thats exactly what lead me to it.luka said:so i read white noise. i think david toop mentions it in ocean of sound which would explain how matt came to read it. (is that a good guess matt?)
i didn't like that. it was the smart-arsery that put me off i think. it felt too contrived.
I thought both adaptations were shit, and I'm a fan of his work generally. Maps to the Stars, which was either adapted from a Bruce Wagner novel or scripted by him, was hugely disappointing given the perfect ingredients (great cast, great director, great writer, etc.) All it did was make me feel numb, kind of sick with indignation, and like sticky all over for some reason. But I guess that's what a Los Angeles novel/book is supposed to do. History of Violence, Eastern Promises, and A Dangerous Method were outstanding, masterpieces even. I don't know what happened. It's like he got old or something.I was really into the Crash film, wasn't so keen on Cosmopolis.
Did he do Cosmopolis? It seems to me that if you gonna adapt a book then you should understand it or at least think you understand it and so have an opinion on it. With Cosmopolis it felt as though that wasn't the case - so it was just a film with the guy from the vampire films driving around in a car. I dunno how good the book was to start with though to be fair. There was one line that stuck with me though (can't remember if it's in the film or not), something about buying a massive penthouse flat or whatever for 100 million dollars or whatever and making the point that the reason for paying that much was not cos of how good the flat was, it was simply to have paid that much money. You pay that much for the status of there being the fact that you have paid that much money - there is no other way to achieve that except by doing it. I think DeLillo put it better though. You'd hope so.Only just occurred to me that Cronenberg has adapted Ballard and DeLillo