Or, his mistake was getting caught. Because, you know, he's retarded 'n shit.

As a lifelong New Englander, it's hard to fathom a coffee & donut joint with more ubiquity than Dunkin' Donuts. They've sure got Massachusetts on fucking lockdown. Often they're within a block of each other, or directly across the street from one another. Between Worcester and Boston, if you can't think of a spot…

My tears are holdin' back, tryin' not to fall.
My heart's out of the runnin', true love scratched for another's sake.
The race is on and it looks like heartaches, and the winner loses all.

Hey, that's my city. If you head to the neighborhood where Clark is (the infamous and picturesque Main South) you can pick up some of the scuzziest hookers in the world.

If I were bald(ing), I'd probably closely resemble Salman Rushdie. Call me!

Okay, with that voice cast, I'd definitely watch. Ghostface and Tom Waits would have sold it, but Robert Evans as Zapp is far too funny to pass up.

DiMaggio also does Randy. Not big, but integral.

A couple no one else mentioned
Apart from the Heads' "This Must Be the Place", that is.

"The Book of Love" is a fine choice, as well. And if people can't tolerate Stephen Merritt's voice, there's always the slightly more homogeneous (though still quite good) and newly-ubiquitous Peter Gabriel cover version.

"King of the Road" >>>> "Dang Me". I AIN'T GOT NO CIGARETTES!

Reagan sez abortion's murder
While he's lookin' at Cardinal O'Connor
Look at Jerry Falwell, Louis Farrakhan
Both talk religion and the brotherhood of man
Both sound like they belong in Tehran…

This book was hysterical, however. A story about running the Baja 500 with Michael Nesmith - how can you not like that? That said, I feel like I disagree with about 65.2% of everything the guy says, and he makes me laugh on paper anyway.

Yep, mine too. Loved it, and I think Donna hit most of the reasons why.

Hudson was one of the more enjoyably sociopathic characters I've come across in…well, I was going to say "literature"…hell I'll stick with that. Much of my enjoyment outside of the meta-commentary Willeford regularly slipped in came from that casual air about doing these awful, awful things that Hudson had.…

That was interesting, because on the one hand Leo was genuinely excited about the project, but when he's first introduced he's at best a failed and tossed-aside film producer trying to claw his way back into the biz. I think it goes to Hudson's staggering disconnect from reality and his own arrogance that prevent him…

@Scobias: I'm fairly certain Hudson says as much. I think it speaks mostly to his disgust at Leo's "sellout", to prove you can make anyone part with their beliefs for the right amount of money. The "sellout" which was totally believable in and of itself.

I'm not sure if anyone else commented on this
But in addition to the "counting cars" bits at the beginning and the end, I didn't see anyone commenting further on the structure. I read a comment about the "AV club" beginning about threading the film into the machine, but what about the "end credits"? The whole book was…

@Mayday: Right on. The metafictional structure of the book and the constant ironic commentary on the nature of the movie business and the nature of the writing itself was definitely the best thing about the book.

That was nice. I was looking for this thread.

Hail, fellow B&N whore. I totally would've been there, but only because I'm a Simpsons nerd.