Pacific Coast Highway Quotes

Years passed. The trees in our yard grew taller. I watched my family and my friends and neighbors, the teachers whom I'd had or imaged having, the high school I had dreamed about. As I sat in the gazebo I would pretend instead that I was sitting on the topmost branch of the maple under which my brother had swallowed a stick and still played hide-and-seek with Nate, or I would perch on the railing of a stairwell in New York and wait for Ruth to pass near. I would study with Ray. Drive the Pacific Coast Highway on a warm afternoon of salty air with my mother. But I would end each day with my father in his den. I would lay these photographs down in my mind, those gathered from my constant watching, and I could trace how one thing- my death- connected these images to a single source. No one could have predicted how my loss would change small moments on Earth. But I held on to those moments, hoarded them. None of them were lost as long as I was there.

Jesus Christ!" sterling shouted. "Where'd you learn to drive?" "nobody asked you for commentary!" Emma yelled back as they hurtled into the moving traffic. Luckily it was late and the lanes were mostly empty. "I don't want to die on the pacific coast highway!" sterling wailed. "Oh, I'm sorry," Emma's voice dripped acid. "Is there a different highway you'd like to die on? BECAUSE WE CAN ARRANGE THAT.

he P.C.H. [Pacific Coast Highway] being one of them; the melancholiness of the ocean; the melancholiness of everything else. And the feeling of being like, this is a fragment of a holographic reality that a higher consciousness made.

The P.C.H. [Pacific Coast Highway] being one of them; the melancholiness of the ocean; the melancholiness of everything else.

In Carter Woodbine’s Bentley, he is southbound on Pacific Coast Highway

The unease of the tour is not the discomfort of being problematically present—South Central mediated by air-conditioning vents—so much as the discomfort of an abiding absence—a pattern of always being elsewhere, far away, our of ear- and eye- and gun-shot, humming beach to bistro along the Pacific Coast Highway.

So that’s why when I buy a new house—and there have been many (never underestimate a geographic)—it has to have a view. I want the sense that I can look down on safety, on someplace where someone is thinking of me, at a place where love is. Down there, somewhere in that valley, or in that vast ocean out there beyond the Pacific Coast Highway, on the gleaming primaries of the red-tail’s wings, that’s where parenting is.

didn’t plan this,” Jack said. “But since it’s you and me—tell me about Brie.” “Tell you what, Jack?” “When she was leaving… It looked like there was something….” “Spit it out.” “You and Brie?” “What?” Jack took a breath, not happily. “Are you with my sister?” Mike had a swallow of his whiskey. “I’m taking a day off tomorrow—taking her down the Pacific Coast Highway through Mendocino to look for whales, see the galleries, maybe have a little lunch.” “Why?” “She said she’d like to do that while she’s here.” “All right, but you know what I’m getting at—” “I think you’d better tell me, so I don’t misunderstand.” “I’d like to know what your intentions are toward my sister.” “You really think you have the right to do that? To ask that question?” Mike asked him. “Just tell me what was going on between the two of you while I was gone.” “Jack, you’d better loosen your grip a little. Brie’s a grown woman. From where I stand, we’re good friends. If you want to know how she sees it, I think she’s the one you have to ask. But I don’t recommend it—she might be offended. Despite everything, she tends to think of herself as a grown-up.” “It’s no secret to you—she’s had a real bad year.” “It’s no secret,” Mike agreed. “You’re making this really tough, man…” “No, I think you are. You spent some time with her tonight. Did it look to you like anything is wrong? Like she’s upset or anything? Because I think everything is fine and you worry too much.” “I worry, yeah. I worry that maybe she’ll look to you for some comfort. For something to help her get through. And that you’ll take advantage of that.” “And…?” Mike prompted, lifting his glass but not drinking. “And maybe work a little of your Latin magic on her and walk away.” Jack drank his whiskey. “I don’t want you to do that to her.” Mike put down his glass on the bar without emptying it. “I would never hurt Brie. And it has nothing to do with whose sister she is. Good night, Jack.

THE PARTY And at last the police are at the front door, summoned by a neighbor because of the noise, two large cops asking Peter, who had signed the rental agreement, to end the party. Our peace can’t be disturbed, one of the officers states. But when we receive a complaint we act on it. The police on the front stoop wear as their shoulder patch an artist’s palette, since the town likes to think of itself as an art colony, and indeed, Pacific Coast Highway two blocks inland, which serves as the main north-south street, is lined with commercial galleries featuring paintings of the surf by moonlight —like this night, but without anybody on the sand and with a bigger moon. And now Dennis, as at every party once the police arrive at the door, moves through the dancers, the drinkers, the talkers, to confront the uniforms and guns, to object, he says, to their attempt to stop people harmlessly enjoying themselves, and to argue it isn’t even 1 a.m. Then Stuart, as usual, pushes his way to the discussion happening at the door and in his drunken manner tries to justify to the cops Dennis’ attitude, believing he can explain things better to authority, which of course annoys Dennis, and soon those two are disputing with each other, tonight exasperating Peter, whose sole aim is to get the officers to leave before they are provoked enough to demand to enter to check ID or something, and maybe smell the pot and somebody ends up arrested with word getting back to the landlord and having the lease or whatever Peter had signed cancelled, and all staying here evicted. The Stones, or Janis, are on the stereo now, as the police stand firm like time, like death—You have to shut it down—as the dancing inside continues, the dancers forgetting for a moment a low mark on a quiz, or their draft status, or a paper due Monday, or how to end the war in Asia, or some of their poems rejected by a magazine, or the situation in Watts or of Chavez’s farmworkers, or that they wish they had asked Erin rather than Joan to dance. That dancing, that music, the party, even after the cops leave with their warning Don’t make us come back continues, the dancing has lasted for years, decades, across a new century, through the fear of nuclear obliteration, the great fires, fierce rain, Main Beach and Forest Avenue flooded, war after war, love after love, that dancing goes on, the dancing, the party, the night, the dancing

That afternoon I say about five thousand cars or probably three thousand passed me not one of them ever dreamed of stopping -- Which didnt bother me anyway because at first seeing that gorgeous long coast up to Monterey I thought "Well I'll just hike right in, it's only fourteen miles, I oughta do that easy" -- And on the way there's all kindsa interesting things to see anyway like the seals barking on rocks below, or quiet old farms made of logs on the hills across the highway, or sudden upstretches that go along dreamy seaside meadows where cows grace and graze in full sight of endless blue Pacific -- But because I'm wearing desert boots with their fairly thin soles, and the sun is beating hot on the tar road, the heat finally gets through the soles and I begin to deliver heat blisters inmy sockiboos -- I'm limping along wondering what's the matter with me when I realize I've got blisters -- I sit by the side of the road and look -- I take out my first aid kit from the pack and apply unguents and put on cornpads and carry on -- But the combination of the heavy pack and the heat of the road increases the pain of the blisters until finally I realize I've got to hitch hike a ride or never make it to Monterey at all. But the tourists bless their hearts after all, they couldnt know, only think I'm having a big happy hike with my rucksack and they drive on, even tho I stick out my thumb

Excerpted From Chapter Eighteen Pacific Coast Highway ends with a sharp right turn onto Sepulveda. Approaching that intersection, I saw several cars pulled to the shoulder of the road and two fresh, black skid marks leading straight to the edge of the beach beyond Sepulveda. Halfway between the road and the water, a big red Caddy convertible lay upside down on the sand. I parked and jogged to the wreckage. The windshield and the cloth top had collapsed, so the car was resting on its hood and trunk lid. A young man in swimming trunks and an older fellow in a suit were pulling at the driver's side door, trying to get it open. The twisted metal was resisting their efforts, but the door finally came loose just as I got there. Through the opening I could see Diana Dean sprawled across the shredded remains of her convertible top. From where I stood, she looked to be in about the same shape as her mangled red Caddy. Maybe worse.

An example is the campaign that Goodby, Berlin & Sil- verstein produced for the Northern California Honda Deal- ers Advertising Association (NCHDAA) in 1989. Rather than conform to the stereotypical dealer group advertising ("one of a kind, never to be repeated deals, this weekend 114 Figure 4.1 UNUM: "Bear and Salmon. Figure 4.2 UNUM: "Father and Child." 115 PEELING THE ONION only, the Honda-thon, fifteen hundred dollars cash back . . ." shouted over cheesy running footage), it was decided that the campaign should reflect the tone of the national cam- paign that it ran alongside. After all, we reasoned, the only people who know that one spot is from the national cam- paign and another from a regional dealer group are industry insiders. In the real world, all people see is the name "Honda" at the end. It's dumb having one of (Los Angeles agency) Rubin Postaer's intelligent, stylish commercials for Honda in one break, and then in the next, 30 seconds of car salesman hell, also apparently from Honda. All the good work done by the first ad would be undone by the second. What if, we asked ourselves, we could in some way regionalize the national message? In other words, take the tone and quality of Rubin Postaer's campaign and make it unique to Northern California? All of the regional dealer groups signed off as the Northern California Chevy/Ford/ Toyota Dealers, yet none of the ads would have seemed out of place in Florida or Wisconsin. In fact, that's probably where they got them from. In our research, we began not by asking people about cars, or car dealers, but about living in Northern California. What's it like? What does it mean? How would you describe it to an alien? (There are times when my British accent comes in very useful.) How does it compare to Southern California? "Oh, North and South are very different," a man in a focus group told me. "How so?" "Well, let me put it this way. There's a great rivalry between the (San Francisco) Giants and the (L.A.) Dodgers," he said. "But the Dodgers' fans don't know about it." Everyone laughed. People in the "Southland" were on a different planet. All they cared about was their suntans and flashy cars. Northern Californians, by comparison, were more modest, discerning, less likely to buy things to "make state- ments," interested in how products performed as opposed to 116 Take the Wider View what they looked like, more environmentally conscious, and concerned with the quality of life. We already knew from American Honda—supplied re- search what Northern Californians thought of Honda's cars. They were perceived as stylish without being ostentatious, reliable, understated, good value for the money . . . the paral- lels were remarkable. The creative brief asked the team to consider placing Honda in the unique context of Northern California, and to imagine that "Hondas are designed with Northern Californi- ans in mind." Dave O'Hare, who always swore that he hated advertising taglines and had no talent for writing them, came back immediately with a line to which he wanted to write a campaign: "Is Honda the Perfect Car for Northern Califor- nia, or What?" The launch commercial took advantage of the rivalry between Northern and Southern California. Set in the state senate chamber in Sacramento, it opens on the Speaker try- ing to hush the house. "Please, please," he admonishes, "the gentleman from Northern California has the floor." "What my Southern Californian colleague proposes is a moral outrage," the senator splutters, waving a sheaf of papers at the other side of the floor. "Widening the Pacific Coast Highway . . . to ten lanes!" A Southern Californian senator with bouffant hair and a pink tie shrugs his shoulders. "It's too windy," he whines (note: windy as in curves, not weather), and his fellow Southern Californians high-five and murmur their assent. The Northern Californians go nuts, and the Speaker strug- gles in vain to call everyone to order. The camera goes out- side as th

On the whole “the critics” distrust great wealth, but “the public” does not. On the whole “the critics” subscribe to the romantic view of man’s possibilities, but “the public” does not. In the end the Getty stands above the Pacific Coast Highway as one of those odd monuments, a palpable contract between the very rich and the people who distrust them least.

Emily and I are lying out on towels. She is so thin, I can make out every rib, the sternum, the knobby bulges of her shoulders. Her hair is golden and thick, though, which is how I know I’m dreaming. It was so brittle toward the end. I want to lie here even though I’m not sure if beside me Emily is alive or dead. When a coyote is hit on Pacific Coast Highway, the carcass will decay for weeks until all that’s left is bones and fur. I can wait, I’m willing to wait. The sun is warm, and maybe if we lie here long enough the tide will rise and the current will drag us out, maybe the sea will accept us back into it. My phone vibrates and drops onto the floor, waking me. I’ve fallen asleep in my clothes. It’s not yet eleven. I have a voice mail from Guy. It’s startling to hear his voice, casual and familiar, telling me that Mom is doing well, the production too. He doesn’t ask me to call, but I don’t want to be alone, thinking of that hideous death. How could I have known it would be quick? Paul had only called a few weeks earlier to say Emily was coming home from the hospital, that hospice had been arranged. I brought a tuna casserole, without peas, which was how Emily liked it when she was little. But she was already in a drug-induced sleep by then. Paul and the caregivers administering liquid morphine every two hours. So thin, I remember saying to Paul, who looked at me bewildered. She’s been thin for months, he said. They asked if I wanted to rub lotion into her hands, put a warm washcloth on her face. She knows you’re here, someone said. I did not want to see her die. I did not want to touch her body. Downstairs I microwaved the casserole and sat and ate it with Hannah while we watched cartoons. Guy doesn’t answer the first time, so I call again. A third time. “Pricilla, what time is it there?” I can hear car horns; a radio being turned down. I imagine he’s on a freeway stuck in traffic and I feel a twinge of homesickness. “Not that late.” I open the bedroom window.

we hit the tunnel that marks the end of the freeway and dumps out onto the Pacific Coast Highway. I cracked the window open. I always loved the feeling I got when I’d swing out of the tunnel and see and smell the ocean. We followed the PCH as it took us north to Malibu. It was hard for me to go back to the computer when I had the blue Pacific right outside my office window. I finally gave up, lowered the window all the way, and just rode.

Each day I drove from my little house in Venice, California, up along Pacific Street and down California Street, onto the Pacific Coast Highway and up the winding coastline to Topanga Canyon, then up the mountain pass to Jackson’s house, nestled behind a gigantic grove of big bamboo, all the while high as a goose.

Five years previously, Janice had embroidered the album cover of Madman Across the Water and was the main inspiration for the seamstress for the band in “Tiny Dancer,” a song inhabited by fragments of a handful of LA females: a Whisky a Go Go waitress, a girl who worked in a Beverly Hills shoe store, and a hitchhiker in cutoffs on Pacific Coast Highway.

There really was a secret conspiracy of businessmen at the turn of the century, with strange and disturbing ideas. They talked about building a ‘City of the Future’ in the desert, near the Pacific coast, a cursed place where the Indians were afraid to go. Shining towers of glass and chrome, sixteen-lane elevated highways, service stations and billboards as far as the eye can see, vast aqueducts to suck up all the water in a thousand-mile radius, clear skies 284 days out of the year, five hundred square miles of unbroken pavement, and vast power plants to supply air conditioning for five million people just to make it livable!” “It sounds hellish,” said Philo. “Who would want to live there?” “They believed that the people should be designed to fit the city, not the other way around. They called it ‘social engineering.

A second famous person became involved with the Manson Family around the spring of 1968. Two of the Manson girls, Patricia and Ella Jo, were hitch-hiking on the Pacific Coast Highway when Beach Boy Dennis Wilson picked them up and invited them to his house. The girls complied, and after spending an afternoon with Dennis, they returned to Manson and told him about their famous new friend. Over subsequent days, Manson managed to worm his way into Dennis’ life, taking advantage of his extreme generosity to move his family into Dennis’ house. Manson also hoped that Dennis would be able to help him boost his music career, a dream Manson had never let go. But any opportunities Dennis threw Manson’s way, he squandered. It became clear to anyone with musical training that Manson could only play a few chords on his guitar and none of his songs were good enough to record. After a few months, Dennis was desperate to part ways with Manson and even moved out of his own home, leaving his landlord to deal with evicting the Manson Family.

MARTIN SHEEN: Terry called me one night, and he had done so after finally making a decision. His gut hunch was to hire me, but he had other considerations, or an obligation to sort through his casting agent’s suggestions. He asked me if I was still interested. I got up just before sunrise and started driving the Pacific Coast Highway to the tune of Bob Dylan’s “Desolation Road.” It was one of the most profound moments of my life. Dylan, who was one of my personal heroes, had cracked something wide open inside of me. I was experiencing an epiphany. There was a realization of what just happened to me. I started to weep, and pulled the car over on the highway and reflected on this. My happiness. Before that phone call, I would have never thought that such a thing would happen to me. I realized that acting was no joke. You don’t show up on a set and just decide that you are going to throw yourself out there without preparation. Me being there was no accident. The stars had aligned and Badlands was a role of a lifetime. I have Terry Malick to thank for it.

So that’s why when I buy a new house—and there have been many (never underestimate a geographic)—it has to have a view. I want the sense that I can look down on safety, on someplace where someone is thinking of me, at a place where love is. Down there, somewhere in that valley, or in that vast ocean out there beyond the Pacific Coast Highway, on the gleaming primaries of the red-tail’s wings, that’s where parenting is. That’s where love is. That’s where home is. I can feel safe now.