Plot
The plot features a series of interlocking stories. Each vignette is introduced with a character that had sex with someone in the previous segment. The movie opens with a seventeen-year-old prostitute, Lolita (Hilary Swank) who hangs around outside movie premiere with another teen prostitute in the hopes of getting a picture of her idol, movie star Peter Blaine (Peter Dobson). After her friend is forcibly dragged off by a jealous boyfriend, Lolita wanders around by herself in the streets of Los Angeles. Then she ends up performing a sexual favor for a man who ends up knocking her unconscious.
The man, a young African American named Angel, is engaged in questionable criminal activities. He later ends up trying to flee Los Angeles after he makes a major mistake during a drug deal. He takes Julie, a young waitress (Meta Golding), with him. After they have sex in a stolen car while driving through a car wash, Julie rethinks her plans to escape with Angel. After she notices that a car filled with men has been shadowing them, she runs out of the car. Angel is killed by the men.
Sometime later, Julie is working in an upscale restaurant as a waitress. She waits on Richard (Chad Lowe) who ends up sexually assaulting her in the men's room. In the next vignette, Richard has a tryst with Kathy (Natasha Gregson Wagner), his boss's wife. Kathy has a non-exclusive relationship with her husband, Bobby (Bill Cusack), who has a girlfriend on the side. Bobby is sexually propositioned by Patrick (Stephen Mailer), a sexually aggressive and drug addicted gay man, who is the closeted Blaine's boyfriend. The last vignette features a grief-stricken Blaine seeking sexual favors and companionship from Lolita, who is still sporting a bruise from her encounter with Angel.
Read more about this topic: Quiet Days In Hollywood
Famous quotes containing the word plot:
“James’s great gift, of course, was his ability to tell a plot in shimmering detail with such delicacy of treatment and such fine aloofness—that is, reluctance to engage in any direct grappling with what, in the play or story, had actually “taken place”Mthat his listeners often did not, in the end, know what had, to put it in another way, “gone on.””
—James Thurber (1894–1961)
“Morality for the novelist is expressed not so much in the choice of subject matter as in the plot of the narrative, which is perhaps why in our morally bewildered time novelists have often been timid about plot.”
—Jane Rule (b. 1931)
““The plot thickens,” he said, as I entered.”
—Sir Arthur Conan Doyle (1859–1930)