Jim Thomsen

“There is only one plot—things are not what they seem.”
― Jim Thompson

“She tried to imagine marriage, as she had as a girl at St. Clerans, her family’s estate in Ireland, covering her eyes with a veil and dream-walking the grounds as a fairy-girl bride, but she quickly came to: There was always present the vortex of a darker past, what had been done to her and Jack as children, what they had done to each other as adults, and would probably, even against their will, do to each other again. In Barcelona they met again. They talked of Regina Le Clery, his friend who had just died in a plane crash at Orly Airport, and again of her mother, killed in a car crash in 1969, who managed her father’s many transgressions ably, like a deposed queen burying a broken heart; and they talked of ghosts, memories that lace the eye; and he fell asleep fingering the pearls, once her mother’s, she wore that night to bed; and following him to France, she discovered he had slept with another woman.”
― Sam Wasson, The Big Goodbye: Chinatown and the Last Years of Hollywood

“Linda waited, knowing Knox would fill the silence. On average, men tended to interrupt a woman after eight seconds. If a woman didn’t talk, most men couldn’t last four seconds, according to social scientists with government funding and a stopwatch.”
― Chris Offutt, The Killing Hills

“The making of Night Moves is the story of the collaboration of two artists of starkly different sensibilities – Alan Sharp the hopeless fatalist, Arthur Penn the agitating progressive. Each was just beginning to descend from his peak of cultural relevance.”
― Matthew Asprey Gear, Moseby Confidential: Arthur Penn’s Night Moves and the Rise of Neo-Noir