#2508 - Joe Eszterhas

Eszterhas's Screenwriting Derives From a Subconscious Creative Force

He Views "the Twisted Little Man" as a Dark Presence Generating Story Ideas and Sexual Content, While He Facilitates This Voice

Joe Eszterhas describes his creative process as being driven by an inner presence he calls "the Twisted Little Man." This character, “born 29, will die 29,” is responsible for generating his story ideas, especially those with strong sexual content. Eszterhas claims he simply gives this figure the space to work, likening it to the phenomenon of children having imaginary companions. He also mentions Mark Twain and Jesus of Nazareth as imagined presences influencing his work, though the Twisted Little Man stands out as a darker, more creative force.

The Writing Process Involves Rapid Idea Creation, Like Composing the Basic Instinct Script In Thirteen Days

Eszterhas explains that his writing often comes in rapid bursts. For example, he wrote “Basic Instinct” in just thirteen days, describing the story as something that “just poured out” of him during a concentrated creative sprint.

Imagined Companions Like Twain and Jesus Influence His Work

Beyond the Twisted Little Man, Eszterhas credits Mark Twain and Jesus of Nazareth as deeply influential imaginary companions, shaping both the tone and substance of his writing. Twain, he says, is a blend between dark and light, a figure he cherishes.

Trauma and Experiences Fuel Eszterhas's Compelling Screenplays and Narratives

Basic Instinct Evolved From Memories of a College Affair With an Older Woman and Talks With a Police Officer Involved In Shootings, Merging Into a Love Story

Eszterhas roots his scripts in personal experience and memories. He reveals “Basic Instinct” drew on two powerful sources: his affair at age 18 with a 39-year-old faculty wife—an encounter that deeply shaped his attitudes and understanding of women—and his later work as a police reporter, where a friendship with a police officer involved in multiple shootings led him to question the officer's motives. These two archetypes, the older, mysterious woman and the dangerous police officer, lingered in his subconscious for years. Eventually, guided by the Twisted Little Man, these memories coalesced into the love story at the heart of “Basic Instinct.”

Script Needed Years of Subconscious Processing Before two Archetypes Combined, Culminating In Final Thirteen-Day Writing Sprint

Eszterhas emphasizes that while the final writing took just thirteen days in Hawaii, the fusion of his college affair and the police officer’s dark experiences was the result of years spent consciously and subconsciously mulling these themes. He often had moments of inspiration in the middle of the night, jotting down notes as the characters matured in his imagination.

He Renamed the Script To "Basic Instinct" Before Submitting It to Agents

Initially titled "Love Hurts," Eszterhas had a last-minute flash—attributed again to the Twisted Little Man—to rename the script “Basic Instinct” before sending it to his agents, a decision that marked its final identity.

Substrates Like Cocaine and Alcohol Enhanced but Did Not Drive the Writing

Cigarette Smoking, Not Recreational Drugs, Was His Primary Creative Companion

Eszterhas states that, despite a reputation for wild living, his main writing companion was nicotine. During the writing of "Basic Instinct," he habitually smoked two packs a day, including Luckys, Marlboros, Gauloises, cigars, and even pipes.

Coffee Consumption Led To Health Crisis Requiring Emergency Intervention, Forcing Elimination of Caffeine

Another stimulant, coffee, once played a major role in his process until excessive consumption led to a health emergency. Mistaking a caffeine overdose for a heart attack, he found himself screaming at r ...

Joe Eszterhas’s life and career are profoundly shaped by experiences of hardship and violence, from his earliest days as a refugee to his encounters with the world’s most iconic musicians and counterculture figures.

Eszterhas's Refugee Years in Poverty Shaped His View of American Society and Human Struggle

Family Arrives In America, Finds "Streets Paved With Gold" an Illusion in Cleveland's Poor Neighborhoods

Eszterhas spends seven years in refugee camps in Austria before arriving in America, where his family expects a land of abundance but finds only poverty in an urban Cleveland neighborhood.

Raised In a Hungarian Enclave, He Experienced Organized Crime and Violence From an Early Age

He grows up in a poor area, surrounded by neon lights and a bar next door, observing the street life, sex workers, and violence that permeate the neighborhood.

Witnessing a Man Beaten To Death At Age Twelve Shaped His View on Violence

At age twelve, Eszterhas watches as a man is beaten to death outside his home. The brutality of the moment leaves a lifelong mark on his view of violence and human behavior.

As a Child, He Watched Neon Lights, Sex Workers, and Street Life From His Window, Fascinated and Educated Simultaneously

Many nights, he gazes from his living room couch at the bar’s neon lights, sex workers, and street drama, both fascinated and educated by what he witnesses from that vantage point.

Career as a Police Reporter on Violent Incidents and Urban Uprisings Provided Emotional and Narrative Content for Future Screenwriting

Four Years of Dayton and Cleveland Police Reporting Involved Arriving At Crime Scenes Before Law Enforcement

Pursuing journalism, Eszterhas covers the police beat for four years—two in Dayton, two in Cleveland—often arriving at crime scenes before the police.

Suburban Shooting Left a Lasting Impression on His Psyche and Influenced His Storytelling

One formative experience occurs in a Dayton suburb, where he enters a home after a shooting: he sees the aftermath—a dead man, blood on the walls, and a bereaved Hungarian-speaking widow screaming in grief. The scene’s intensity and ethnic connection haunt him and help fuel the emotional realism in his writing.

Mcglennville Uprising: Experiencing Police Shootings and Taking Refuge During Gunfire Triggered Fear and Political Awakening

Covering the McGlennville urban uprising in Cleveland, he finds himself crouching behind a car during active gunfire, just feet from a bleeding officer. The violence and proximity of death terrify him so much he urinates in fear.

Acquainted With Officer and Black Nationalist Leader Fred Ahmed Evans During Cleveland Uprising

During these uprisings, Eszterhas is familiar with both the wounded Hungarian cop and Fred Ahmed Evans, the Black nationalist leader directing the opposing gunfire, reflecting the complex relationships and blurred lines of that era.

Exposure to Civil Rights, Urban Uprisings, and Refugee Camps

His reporting leads him into the heart of the civil rights movement, urban uprisings, and the chaos of American society in transition—enriching his later narratives with authenticity and darkness.

Friendship With Hunter S. Thompson Launched Screenwriting Career

Thompson Admired Eszterhas's Police Reports on Hell's Angels and Expressed Respect for His Writing on Violent Counterculture Subjects

Eszterhas and Thompson bond as poor kids dreaming of being novelists, but first turning to journalism for survival. Thompson, impressed by Eszterhas’s vivid police reporting—especially on groups like the Hell’s Angels—warns that now there are two men alive who can write authentically about such subjects.

Thompson Urged Rolling Stone to Hire Eszterhas, Showing Belief in His Talent

Thompson lobbies Rolling Stone editors to hire Eszterhas, describing him as a good guy and vouching for his talent.

Thompson Aided Eszterhas In Securing a Literary Agent and Publisher For Charlie Simpson's Apocalypse, a National Book Award Finalist

When Eszterhas writes Charlie Simpson's Apocalypse, Thompson enthusiastically supports him, securing the top literary agent in the country and pub ...

Joe Eszterhas and Joe Rogan explore the impact of iconic figures Hunter S. Thompson and Mark Twain on Eszterhas’s work and worldview, delving into artistry, personal connection, decline, and legacies of irreverence.

Thompson's Revolutionary Journalism and Lifestyle Influenced Eszterhas's View of Artistic Freedom and Authenticity

Thompson's Gonzo Journalism Formed a Genre Blending Personal Narrative, Emotional Honesty, and Stylistic Innovation

Joe Rogan points out that Hunter S. Thompson’s work in the 1960s and 1970s gave voice to a generation, framing him as an intelligent outsider who remained authentic while achieving fame. Eszterhas describes Thompson’s development of Gonzo journalism as revolutionary, building on New Journalism but transforming it into a new genre defined by humor, personal narrative, emotional honesty, and stylistic innovation. This approach, as seen in "Fear and Loathing in Las Vegas" and "The Kentucky Derby is Decadent and Depraved," captured the era’s spirit and created a genre that inspired both readers and fellow writers.

Wolfe Hailed Thompson As Today's Twain For Capturing an Era Through Provocative, Humorous Writing

Tom Wolfe, a founder of New Journalism, called Thompson the Mark Twain of his day for his achievement in capturing the era through a mix of provocation and humor. Rogan and Eszterhas agree that very few writers since have matched Thompson’s cultural resonance.

Thompson's 1972 Campaign Coverage Surpassed Theodore White's Through Its Analytical Rigor and Emotional Immediacy

Eszterhas singles out "Fear and Loathing on the Campaign Trail '72" as, in his view, the best piece of political commentary he’s read, surpassing even the respected works of Theodore White. The book’s approach—immersing Thompson in the campaign for an extended time—yielded analysis with unmatched rigor and emotional immediacy.

Despite His Wild Eccentric Public Persona, Thompson Had a Sensitive, Intellectual Side With Trusted Friends

Though Thompson’s public persona was wild and eccentric, Eszterhas witnessed a more sensitive, quiet, and intellectual side. At Eszterhas’s home, Thompson showed kindness to Eszterhas’s then-wife and was capable of moral judgment—for example, criticizing Eszterhas for having an affair and expressing anger on behalf of Eszterhas’s family.

Thompson and Eszterhas: A Multifaceted Friendship of Writing, Drinking, Drugs, and Cultural Observations

Both Men, From Poverty, Became Journalists to Support Their Novel-Writing Dreams

Both Eszterhas and Thompson came from poverty. They entered journalism not for its own sake but as a practical means to sustain their ambitions as novelists, inspired by earlier literary icons like Hemingway.

San Francisco Friendship: Loud Demands For Drinks, Acid, and Strip Club Entertainment

Their friendship flourished in San Francisco, where they shared wild nights involving drinking and strip clubs; Thompson favored taking acid before such excursions. Eszterhas recalls events on O’Farrell Street where Thompson would loudly demand entertainment and amuse or embarrass their group with raucous outbursts.

Eszterhas’s time at Rolling Stone magazine contributed to their dynamic, as Eszterhas would receive cocaine from grateful drug dealers for his investigative stories, and would share it with Thompson, solidifying part of their wild camaraderie.

Thompson Criticized Eszterhas For an Affair During Marriage, Revealing Moral Integrity Beneath Outrageous Behavior and Genuine Care and Judgment

Despite Thompson’s outrageous public actions, he demonstrated genuine care for friends. After joining Eszterhas and his wife for a Hungarian dinner, Thompson castigated Eszterhas for his extramarital affair, revealing that beneath his persona lay real judgment and concern for loved ones.

Thompson's Offer to Eszterhas: Writing the Rum Diary Screenplay Showcased Professional Respect

Years later, Thompson asked Eszterhas to write the screenplay for "The Rum Diary," a sign of ongoing professional respect and trust. Though life had taken them in different directions, this offer reflected the enduring bond and regard between the two men.

Thompson's Decline Led to Suicide From Lost Pleasure and Capability

Thompson's Excessive Drinking and Drug Use Destroyed His Body

Both Rogan and Eszterhas discuss how Thompson’s lifestyle—excessive drinking and daily drug use—ultimately destroyed his physical health. His daily regime became infamous, involving alcohol, drugs, and erratic hours, which wore out his body over the years.

Declining Mobility and Joy: Wheelchair Use, Falls, Fractures

In his later years, Thompson became wheelchair-bound, suffered falls, and broke bones, requiring assistance for basic mobility. Stories from Thompson’s former wife highlight how physically demanding his care became as his vitality faded.

His Note Reflected His Belief in Pleasure and Freedom as Primary Life Values

Thompson’s suicide note—which Eszterhas calls both gut wrenching and brilliant—simply declared there was "no fun anymore." This final message reflected his lifelong belief in pleasure and freedom ...

Joe Eszterhas discusses his conversion to Christianity, the ways this experience shaped his faith and creative work, and his complex relationship with church doctrine and portrayals of Jesus.

Eszterhas's Christian Conversion Emerged From a Near-Death Throat Cancer Experience and Faith-Guided Recovery

After returning to Cleveland from Malibu, Eszterhas is diagnosed with stage four throat cancer. He undergoes a risky surgery performed by Marshall Strome, which involves transferring a neck muscle to his larynx—a procedure not previously done in the U.S. The surgery carries significant risk, but ultimately succeeds.

During this terrifying period, Eszterhas turns to Jesus, influenced partly by his devoutly Catholic wife, Naomi. He starts reading about Jesus and accompanying Naomi to church, finding meaning and inspiration in the mass. Throughout a lengthy three-year recovery, in which he struggles to speak and works hard on physical rehabilitation, Eszterhas credits prayer and his emerging faith with enabling his survival. He prays earnestly and finds a new spiritual strength that helps him endure and overcome his illness.

Faith Journey Shaped His Devout, Non-institutional Christian Identity

Eszterhas describes himself as a devout Christian, but not a devout Catholic, despite his regular church attendance and appreciation for the mass. Since the beginning of his faith journey in 2001, he becomes an eager student of the historical Jesus, reading extensively about Jesus, the apostles, and the intertwined histories of Judaism and Catholicism. Eszterhas finds these subjects deeply moving and transformative.

His participation in worship is grounded in personal experience and communal inspiration. Eszterhas describes group worship as profoundly uplifting and emotionally powerful, akin to the shared energy at concerts. He emphasizes his dedication to prayer, addressing Jesus directly and maintaining an intimate, unmediated relationship with his faith that surpasses institutional boundaries.

Over time, as he continues attending mass with his wife and children, Eszterhas develops ongoing critiques of the Catholic church, but these misgivings do not diminish his core Christian commitment. He regards his faith in Christ as unwavering, and continues to pray to Jesus, placing central importance on his relationship with Him over strict adherence to doctrine.

Eszterhas Critiques the Catholic Church but Remains Committed to Christian Worship

Despite his regular involvement in Catholic worship, Eszterhas is outspoken about his disagreements with church doctrine. He rejects the church’s history of anti-Semitism, its exclusion of women from the priesthood, and the concept of papal infallibility, considering these significant errors. While he admires Martin Luther’s reform efforts and their emphasis on confronting similar institutional failings, he does not convert to Protestantism, preferring to maintain his personal Christian convictions within the broader Catholic tradition.

Eszterhas characterizes himself as unorthodox—a "sort of economic Catholic"—whose true commitment is to Christ. He admires the emotional fullness found in black spiritual worship, suggesting it offers the kind of openhearted devotion he values, but remains firmly rooted in his own basic Christianity. For him, spiritual authenticity takes precedence over institutional conformity.

Conception of Jesus: Beyond Sanitized Portrayals, Emphasizing Historical and Political Complexity

Central to Eszterhas’s faith is a vision of Jesus radically different from the gentle, sanitized figure he believes is often presented by the church. He sees Jesus as a zealot and a freedom fighter, a Jewish man crucified by the Romans for challenging secular and religious authorities. Eszterhas points to Jesus’ association with "blue-collar guys and fishermen and hokers and tax collectors," highlighting his proximity to society’s marginalized.

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Eszterhas's Immigrant Refugee Experience Shapes His View on U.S. Immigration Policy and Migrant Contradictions

Joe Eszterhas describes his family's arrival in America as shaped by the myth that the “streets were paved with gold.” He recounts how his parents, Hungarian refugees, arrived in Cleveland, only to find that the reality was nothing like the promise. They endured poverty and isolation, with Eszterhas unable to speak the language and cut off from networks of support. He got into serious juvenile trouble during his youth but managed to turn his life around through self-education and determination. Eszterhas’s pursuit of the American dream led him from those difficult beginnings to graduating college, winning major awards, and eventually writing 18 Hollywood films.

Crucial to his journey was the help he received from ordinary Americans, such as a bus driver named Henry Jackson—a Black man adopted by Hungarian parents who spoke Hungarian—and college mentors who played key roles in his social mobility. Eszterhas credits their support for his success, emphasizing that he could not have achieved what he did alone. He draws a direct parallel between his family’s struggle as refugees and the aspirations of Latino immigrants seeking better lives in America today, recognizing their pursuit of the same promises that motivated his own parents.

Troubled by Ice Operations and Treating Immigrants As Political Pawns Instead of Human Beings Seeking Opportunity

Eszterhas is deeply disturbed by recent U.S. Immigration and Customs Enforcement (ICE) operations, especially cases where ICE has shot immigrants and labeled them “domestic terrorists.” He calls this an abomination, highlighting incidents in Minneapolis involving a woman and then a man killed by ICE. To Eszterhas, these Latino laborers—gardeners, store workers, parents—are “cousins and brothers,” not threats, and their bid to provide for their families resonates with his own.

He laments the contradictory nature of U.S. immigration policy, where migrants are at times encouraged to come through government and NGO programs, sometimes even assisted across the border, only to face brutal enforcement and deportation years later. This arbitrariness, he argues, is cruel and inconsistent, upending lives and destroying the very dreams that America once promised to people like him. Eszterhas is particularly troubled by the deployment of masked ICE agents, likening it to Gestapo tactics, and warns that resorting to such militarized measures sets a dangerous precedent for law enforcement in America.

Concerns About Undertrained, Masked, Militarized Police

Both Eszterhas and Rogan express grave concerns over the rise of undertrained, masked, militarized police forces. Rogan points out that ICE agents often receive less training than regular police or military, and that such a force, deployed on city streets, opens the door to authoritarian abuses. He warns that although these tactics may be embraced when used for causes people support, the groundwork is laid for future misuse—potentially for actions like gun confiscation or other forms of overreach—by less benevolent leaders.

Rogan and Eszterhas agree the precedent is dangerous, noting the public's willingness, during the COVID-19 pandemic, to accept National Guard deployments and militarized enforcement for lockdowns. This normalization of militarized policing, including anonymous officers snatching people off the streets, frightens them. Eszterhas recalls the Kent State massacre, where he covered the shootings and saw firsthand how inflammatory rhetoric by politicians like Governor James Rhodes directly contributed to lethal outcomes. He sees modern parallels in how political discourse can create an atmosphere ripe for violence and overreach.

ICE’s errors compound these concerns. Eszterhas highlights instances where ICE wrongly arrested hundreds of American citizens, demonstrating systemic problems and ...