On this dreary, cold night I’d been thirsty; more thirsty than I can bear. Oh, I don’t technically need the blood anymore. I have so much blood from Akasha in my veins, the primal blood of the Old Mother that I can exist forever without feeding… but I was thirsting and I had to have it to staunch the misery, or so I told myself on a little late night rampage in the city of Amsterdam, feeding off of every reprobate and killer I could find. I’d hidden the bodies, I’d been careful, but it had been grim: That hot, delicious blood, pumping into me and all the visions along with it from filthy and degenerate minds – all that intimacy with the emotions I deplore. Oh the same old, same old. I was sick at heart. In moods like this I’m a menace to the innocent and I know it only too well. At four in the morning it had me so bad. I was in a little public park, sitting on an iron bench, in the damp, doubled over in a bad, seedy part of the city, the late night lights looking garish and sooty through the mist. I was cold all over and fearing now that I simply wasn’t going to endure: I wasn’t going to be a true immortal like the great Marius or Mekare, or Maharet or Khayman or even Armand. This wasn’t living what I was doing, at one point the pain was so great it was like a blade, turning in my heart and in my brain. I doubled over on the bench; I had my hands clasped on the back of my neck and I wanted nothing so much as to die – to simply close my eyes on all of life and die.

And the voice came, and the voice said, “But I love you.”

excerpt from chapter one of the new VC novel: Prince Lestat (via stilnovistix)

Louis came then. He was so happy that I had not perished. Louis had something to say. He knew I was concerned and he was anxious about the presence of the others. He looked his usual ascetic self, got up in tired black clothes of beautiful cut but impossible dustiness and a shirt so thin and worn that it seemed an elfin web of threads rather than true lace and cloth.

Armand discussing Louis, The Vampire Armand. (via lingeringrespect)

When you start to know someone, all their physical characteristics start to disappear. You begin to dwell in their energy, recognize the scent of their skin. You see only the essence of the person, not the shell. That’s why you can’t fall in love with beauty. You can lust after it, be infatuated by it, want to own it. You can love it with your eyes and your body but not your heart. And that’s why, when you really connect with a person’s inner self, any physical imperfections disappear, become irrelevant.

Lisa Unger, Beautiful Lies   (via wordsnquotes)

“Another big problem was the script, which was written by Rice herself, taking her first shot at writing a screenplay. Pitt hadn’t seen it until two weeks before shooting started. When he finally did get a copy, he realized that everything in Rice’s book that was interesting about his character … was gone.

And so here he was, a rising young actor and budding sex symbol, stuck in an uninteresting, passive role.

"In the book you have this guy asking, ‘Who am I?’ Which was probably applicable to me at that time: ‘Am I good? Am I of the angels? Am I bad? Am I of the devil?’ In the book it is a guy going on this search of discovery. And in the meantime, he has this Lestat character that he’s entranced by and abhors. … In the movie, they took the sensational aspects of Lestat and made that the pulse of the film, and those things are very enjoyable and very good, but for me, there was just nothing to do — you just sit and watch.”

Brad Pitt, in an article by Mike Scott, NOLA.com | The Times-Picayune  

merciful-death:

#[ Interesting to read this ] #[ I’m inclined to agree with Brad Pitt ] #[ because while I do love the movie there’s definitely big differences between movie-Louis and book-Louis ] #[ going only off the movie you would think Louis to be passive ] #[ but in the book he’s got a lot more depth and definitely is not ‘passive’ ] #[ Louis doesn’t really shed that passivity until the burning of the theatre in the movie ] #[ while in the book you have him fighting Lestat from the start ] #[ and I will always find that scene with the priest a big turning point ] #[ which is why it makes me so sad that they scripted it but never filmed it ]

SAME ;A;

“I’m telling you, one day it broke me. It was like, ‘Life’s too short for this quality of life.’ I called David Geffen, who was a good friend. He was a producer, and he’d just come to visit. I said, ‘David, I can’t do this anymore. I can’t do it. What will it cost me to get out?’ And he goes, very calmly, ‘Forty million dollars.’ And I go, ‘OK, thank you.’ It actually took the anxiety off of me. I was like, ‘I’ve got to man up and ride this through, and that’s what I’m going to do.’”

…Still, he says he doesn’t necessarily regret “Interview with a Vampire.”

“I don’t lament the failures,” he said. “The failures prepare you for the next one. It’s a step you needed to take, and I’m all for it.”

Brad Pitt, in an article by Mike Scott, NOLA.com | The Times-Picayune   

“Another big problem was the script, which was written by Rice herself, taking her first shot at writing a screenplay. Pitt hadn’t seen it until two weeks before shooting started. When he finally did get a copy, he realized that everything in Rice’s book that was interesting about his character … was gone.

And so here he was, a rising young actor and budding sex symbol, stuck in an uninteresting, passive role.

"In the book you have this guy asking, ‘Who am I?’ Which was probably applicable to me at that time: ‘Am I good? Am I of the angels? Am I bad? Am I of the devil?’ In the book it is a guy going on this search of discovery. And in the meantime, he has this Lestat character that he’s entranced by and abhors. … In the movie, they took the sensational aspects of Lestat and made that the pulse of the film, and those things are very enjoyable and very good, but for me, there was just nothing to do – you just sit and watch.”

Brad Pitt, in an article by Mike Scott, NOLA.com | The Times-Picayune