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Ellroy appears on the French television show “21CM”

I wrote a piece for Variety on my friend Curtis Hanson:

Curtis Hanson's gaze was ever deferential to the art of film itself. His films explore and never explode. Even his heartbreak unfolds in restraint. There is a debit and credit sheet here. The viewer flails for emotional coherence and fails to find it. The viewer comes away with a sense of life deftly observed. Voyeur, filmmaker, observer — the most circumspect man I've ever met. Curtis Hanson was a camera above all else.

So while the whole idea of a great anything is pointless and even potentially harmful, if were you to put a gun to my head, or threaten my never to be born children, I would nominate James Ellroy's “American Tabloid.” Because Noir may have been America's greatest cultural invention, even if she might not have invented it. Because American Tabloid is the only novel I've read so far that realizes that the crucial moments in history are made by people who never make the history books. It's the rare novel to liberate American outcast language, Jazz talk, street talk, junkie talk, faggot talk, whore talk, and dare to position them as a new canon. And it is that American novel that realized before we did, that our American dream was somebody else's nightmare.

Miss Rosen, writing for Crave says “Ellroy never fails to tell it like it is."

The Mark Gordon Company will produce and finance an adaptation of Blood's A Rover, the 2009 crime novel by L.A. Confidential author James Ellroy. A script has been written by Mark Fergus & Hawk Ostby, who were Oscar nominated for Children of Men and scripted Iron Man. Gordon will produce with Vincent Sieber — whose Midnight Road Entertainment developed the script with the scribes — and Clark Peterson. The film's being packaged to shoot at year's end with Sara Smith overseeing for Gordon.

…an English version of “The Black Dahlia” adaptation will be released in June. The graphic novel will be published by Archaia, an imprint of Boom! Studios. The cover of the new English hardcover edition will feature a brand new image by Hyman.

On a quiet Monday night at Elway's Cherry Creek, it's hard to miss James Ellroy. A trim six-three, clean-domed and fond of Hawaiian shirts, eyes blazing, he's easily the most animated talker in the room. He's not particularly loud or demonstrative, but he is passionate, holding forth on love and death and popular culture while attacking a slab of prime rib.

Interview in the British Journal of Photography by Austin Collings

LAPD '53, is an absurdly comic and hypnotic display of magical memory that is neither history as fiction nor history as non-fiction but something altogether different and more aggressively poetic. Aided by Martin, who served on the LAPD from 1982 to 2002, he has meticulously sifted through the Los Angeles Police Museum archive and curated a selection of powerful crime-scene photographs taken throughout the City of (fallen and bloody) Angels in 1953. The themes are familiar: murder, manslaughter, suicide and home invasions. The format is less familiar.

Report from Alfred A. Knopf's 100th anniversary party on Thursday night at Astor Hall in the main branch of The New York Public Library.

The celebrated crime-fiction author is setting up shop in the Mile High City, and talking smack about John Elway.

Q: So why did you move to Denver from L.A.? A: Personal reasons. And guess what? It ain’t L.A. And guess what? I love it. It’s a more wholesome and altogether amenable place than L.A., and I like cold weather.