I meet Susan [Saradon], and she was amazing. We sit down to go through the script [Thelma & Louise]. I swear, I think it was page one - she says, "So my first line, I don't think we need that line. Or we could put it on page two. Cut this. . . " And I was just like. . . My jaw was to the ground.
Miss Jean Louise, stand up. Your father's passin'.
I always found Louise Brooks interesting. She was an icon of the silent - film era, and I knew she'd grown up in Kansas, and that she was smart and rebellious and sharp - tongued.
Louise de Keroualle, being a Frenchwoman from the French court, was feared by most Englishmen for how she might influence their king, and that fear quickly turned to hatred.
There is no Garbo! There is no Dietrich! There is only Louise Brooks!
Jeez Louise. I know why rich people are so thin: it's from trekking around their humongous houses the whole time.
Ten Little Indians once again shows [Alexie] to be not just one of the West’s best, but one of the most brilliantly literate American writers, even funnier than Louise Erdrich, even more primal than Jim Harrison, and even more eloquent than Annie Proulx.
I'm taking my rats. Those are my friends for the tour. Thelma and Louise. They're so cute.
Louise Gluck, C. K. Williams, Thomas Lux. A lot of the poets that I like are the ones that influenced me as a writer.
Writers like Twain, Whitman, Dickinson, Melville, Louise Erdrich, Toni Morrison, Russell Banks, Carolyn Chute, Alice Walker, so many others that I read coming up as a writer, that helped form my ideas of what it means to be American - and an American writer. I'm always in conversation with them.
