I currently read James Ellroy, and he delivers in interviews:
“Parenthetically, it’s very odd that on the past few trips to Britain, I’m continually questioned about Quentin Tarantino, who I think is a fatuous child. I think Reservoir Dogs is garbage and the forty minutes of Pulp Fiction that I saw is most excruciatingly naive shtick, boring tedium that I’ve ever endured. I stand outside popular culture.”
And:
I start with a hugely detailed outline – the outline for American Tabloid was 275 pages. It’s very, very intense experience, very difficult work. I like density and complexity Every word in American Tabloid and the LA Quartet means something. It’s all there to advance the plot. There’s no rambling. There’s no unnecessary scene-setting. If there are discourses, they are essential to the plot. It’s why people can’t read the book. I’m sure it’s why I don’t get stratospheric sales numbers despite all the great publicity that I get. My sales are quite substantial on their own, but I doubt that they’ll ever be staggering because most people don’t have the discipline or the intelligence for the books. If you blink you’ll miss something. If you want an intense reading experience, great, I’m for you.
But no word on the last part of the American trilogy, goddammit!