Screenwriters

"For a long time I've been walking down life's road with my two pals, Bad Luck and Bad Choices. Fortunately I'm a big believer in new beginnings, new friends, and running from my problems. So one day I decided to head for the island. Aloha, my name is Jack."

"If it sounds like writing, I rewrite it."

"I leave out the parts that people skip."

"What do you tell a man with two black eyes? Nothing, he's already been told twice."

"My grandson, Max, who is an all state lacrosse player, once gave me some lacrosse advice: A limp pass is like a limp dick; it doesn't get the job done. I think the same can be said about limp writing."

"After 58 years you'd think writing would get easier. It doesn't. If you're lucky, you become harder to please. That's all right, it's still a pleasure."

"Well, the man don't just have to die, Foley. I mean, he could accidentally hurt himself falling down on something real hard, you know? Like a shiv, or my dick?"

"It's like seeing someone for the first time, and you look at each other for a few seconds, and there's this kind of recognition like you both know something. Next moment the person's gone, and it's too late to do anything about it."

"I know a guy who walks into a bank with a little glass bottle. He tells everyone it's nitroglycerin. He scores some money off the teller, walks out. On his way out, the bottle breaks, he slips on it and knocks himself out. The "nitro" was Canola oil. I know more fucked-up bank robbers than ones who know what they're doing. I doubt if one in twenty could tell you where the dye pack is. Most bank robbers are fucking morons."

"I grew up in the Valley, and I didn't know any of our neighbors. I think when you grow up like that, there's always sort of a fantasy of a place where everybody knew each other, and you had that safe sort of feeling."

"These television shows that have 14 shots of somebody looking at each other with the wind blowing through their hair drive me insane."

"Life with a Jolly Parent is a bit like life in a holiday camp. The beds are too small and there's an outbreak of Salmonella every five minutes."

"Flash Teacher: How to spot: He'll be the only member of staff who drives a customized Lada."

"For a start, let's look at the Grotto itself. By and large these are extremely aptly named, 'Grot' meaning rubbish and 'Oh' being exclamation of disappointed surprise."

"There are two distinct types of bike: The one you save up for and buy yourself, otherwise known as the 'Dream Machine' , and the one your parents buy for you, otherwise known as the 'Complete waste of space'."

"It's easy to forget you are in debt to the tune of £10, and to a woman who never forgets anything. Crikey, she can even tell you which Coronation Street character was the first one to have their brain removed (Footnote: And not have it replaced by acting talent unfortunately.)"

"Fishing is a jerk at one end of a line waiting for a jerk at the other end of a line."

"'He claims,' said Jenny tactfully, 'That he flew through a radioactive cloud thirty years ago and that it didn't do him any harm - thus it's all right to mine uranium. A fine piece of Australian political reasoning.'"

"'What's funny?' said Pin, shifting uncomfortably in the hospital bed."

"'Didn't this used to be our dining-room table back at Sutherland Street, Frank?' said Kathleen."

"Revolution begins in the kitchen."

"'In my profession I have learned that women can bear more pain than men.'"

"'Course I care. I always care. But there's no point in making a song and dance about it, like that night he stayed here. Know something? There's only one thing that'll bring 'em back, and that's indifference. The one thing you can't fake.'"

"Her handwriting in these pencilled jottings, made forty-five years ago, is exactly as it is today: this makes me suspect, when I am not with her, that she is a closet intellectual."

"'That,' I said, 'would be a blessing. There are so many things I'd like to forget I hardly know what would be left standing, if I ever got started.'"

"On Melbourne summer mornings the green trams go rolling in stately progress down tunnels thick with leaves: the bright air carries along the avenue their patient chime, the chattering of their wheels"

"'It's rather like a Poe story, isn't it,' said Patrick luxuriously, unfocusing his eyes. 'A person sees the chance of a better life passing by, and he makes as if to call out' - he flung one arm in the imploring gesture of a soul in torment - 'but something in his nature makes him hesitate. He pauses ... he closes his lips ... he steps back ... and then he slides down, and down, and down.'"

"And always Melbourne, Melbourne, Melbourne, over and over the same photo in glaring greens and reds, of a tram, huffy, blunderous, manoeuvring itself with pole akimbo round the tight corner where Bourke Street enters Spring."

"Ideas came swarming through her, and like many people who labour in the obsession of solitude, she lacked the detachment to challenge them."

"'Crap,' said Janet. 'He was a whinger and he wrote it down. That's not poetry.'"

"'The devil's everywhere,' he said. 'Not just at Brunswick one day and somewhere else the next. He's everywhere.'"

"The rain began again. It fell heavily, easily, with no meaning or intention but the fulfilment of its own nature, which was to fall and fall."

"Out in deep space the planets sweep, inexorable, along their splendid orbits. Maxine bowed her head. From now on she would take the gods' dictation."

"Our minds are not hopeful, thought Janet; but our nerves are made of optimistic stuff."

"Roper: So now you’d give the Devil benefit of law? More: Yes. What would you do? Cut a great road through the law to get after the Devil? Roper: I’d cut down every law in England to do that! More: Oh? And, when the last law was down, and the Devil turned round on you – where would you hide, Roper, the laws all being flat? This country’s planted thick with laws from coast to coast – man’s laws, not God’s – and, if you cut them down – and you’re just the man to do it – d’you really think you could stand upright in the winds that would blow then? Yes, I’d give the Devil benefit of law, for my own safety’s sake."

"Roper: This was not practical; this was moral! More: Oh, now I understand you, Will. Morality's not practical. Morality's a gesture. A complicated gesture learned from books."

"Cromwell: You brought yourself to where you are now. More: Yes. Still, in another sense, I was brought."

"Cromwell: The King's a man of conscience and he wants either Sir Thomas More to bless his marriage or Sir Thomas More destroyed. Rich: They seem odd alternatives, Secretary. Cromwell: Do they? That's because you're not a man of conscience. If the King destroys a man, that's proof to the King that it must have been a bad man, the kind of man a man of conscience ought to destroy — and of course a bad man's blessing's not worth having. So either will do."

"More: I will not take the oath. I will not tell you why I will not. Norfolk: Then your reasons must be treasonable! More: Not "must be;" may be. Norfolk: It's a fair assumption! More: The law requires more than an assumption; the law requires a fact."

"Norfolk: I'm not a scholar, as Master Cromwell never tires of pointing out, and frankly I don't know whether the marriage was lawful or not. But damn it, Thomas, look at those names... You know those men! Can't you do what I did, and come with us for friendship? More: And when we stand before God, and you are sent to Paradise for doing according to your conscience, and I am damned for not doing according to mine, will you come with me, for friendship? Cranmer: So those of us whose names are there are damned, Sir Thomas? More: I don't know, Your Grace. I have no window to look into another man's conscience. I condemn no one. Cranmer: Then the matter is capable of question? More: Certainly. Cranmer: But that you owe obedience to your King is not capable of question. So weigh a doubt against a certainty — and sign. More: Some men think the Earth is round, others think it flat; it is a matter capable of question. But if it is flat, will the King's command make it round? And if it is round, will the King's command flatten it? No, I will not sign."

"Cromwell: You don't seem to appreciate the seriousness of your position. More: I defy anyone to live in that cell for a year and not appreciate the seriousness of his position. Cromwell: Yet the State has harsher punishments. More: You threaten like a dockside bully. Cromwell: How should I threaten? More: Like a Minister of State, with justice! Cromwell: Oh, justice is what you're threatened with. More: Then I'm not threatened."

"More: You want me to swear to the Act of Succession? Margaret: "God more regards the thoughts of the heart than the words of the mouth." Or so you've always told me. More: Yes. Margaret: Then say the words of the oath and in your heart think otherwise. More: What is an oath then but words we say to God?"

"When a man takes an oath, Meg, he's holding his own self in his own hands. Like water. And if he opens his fingers then — he needn't hope to find himself again."

"Margaret: Haven't you done as much as God can reasonably want? More: Well... finally... it isn't a matter of reason; finally it's a matter of love. Alice: You're content, then, to be shut up here with mice and rats when you might be home with us! More: Content? If they'd open a crack that wide I'd be through it. Well, has Eve run out of apples? Margaret: I've not yet told you what the house is like, without you. More: Don't, Meg. Margaret: What we do in the evenings, now that you're not there. More: Meg, have done! Margaret: We sit in the dark because we've no candles. And we've no talk because we're wondering what they're doing to you here. More: The King's more merciful than you. He doesn't use the rack."

"More: I am faint when I think of the worst that they may do to me. But worse than that would be to go without you not understanding why I go. Alice: I don't! More: Alice, if you can tell me that you understand, I think I can make a good death, if I have to. Alice: Your death's no "good" to me! More: Alice, you must tell me that you understand! Alice: I don't! I don't believe this had to happen. More: If you say that, Alice, I don't know how I'm to face it. Alice: It's the truth! More: You're an honest woman. Alice: Much good it may do me! I'll tell you what I'm afraid of: that when you're gone, I shall hate you for it."

"Jailer: You understand my position, sir, there's nothing I can do; I'm a plain, simple man and just want to keep out of trouble. More: Oh, Sweet Jesus! These plain, simple men!"

"Have patience, Margaret, and trouble not thyself. Death comes for us all; even at our birth — even at our birth, death does but stand aside a little. And every day he looks toward us and muses somewhat to himself whether that day or the next he will draw nigh. It is the law of nature, and the will of God. You have long known the secrets of my heart."

"You can't just have stuff that is free and escapist, you have to have stuff that is confrontational as well. You need stuff that is mystical but you need the realism too."

"Sometimes ah think that people become junkies just because they subconsiously crave a wee bit ay silence."

"That beats any meat injection … that beats any fuckin cock in the world … Ali gasps, completely serious. It unnerves us tae the extent that ah feel ma ain genitals through ma troosers tae see if they're still thair."

""We are all acquaintances now". It goes beyond our personal junk circumstances; a brilliant metaphor for our times."

"The rhetorical question, the stock-in-trade weapon ay burds and psychos."

"Ah hate cunts like that. Cunts like Begbie. Cunts that are intae basebaw-batting every fucker that's different; pakis, poofs, n what huv ye. Fuckin failures in a country ay failures. It's nae good blamin it oan the English fir colonising us. Ah don't hate the English. They're just wankers. We are colonised by wankers. We can't even pick a decent, vibrant, healthy culture to be colonised by. No. We're ruled by effete arseholes. What does that make us? The lowest of the fuckin low, tha's what, the scum of the earth. The most wretched, servile, miserable, pathetic trash that was ever shat intae creation. Ah don't hate the English. They just git oan wi the shite thuv goat. Ah hate the Scots."

"The only people that ever made a difference to Billy were the Provos, and they were cunts as well. Ah've no illusions aboot them as freedom fighters. The bastards made ma brar intae a pile ay cat food. But they jist pulled the switch. His death was concieved of by these Orange cunts, comin through every July with thir sashes and flutes, fillin Billy's stupid head with nonsense aboot crown and country and aw that garbage. They'll go home chuffed fae the day. They kin tell aw thir mates aboot how one ay the family died, murdered by the IRA, while defending Ulster. It'll fuel thir pointless anger, get them bought drinks in pubs, and help establish their doss-bastard credibility wi other sectarian arseholes."

"I dinnae Tam, ah jist dinnae. Life's boring and futile. We start oaf wi high hopes, then we bottle it. We realize that we're aw gaunnae die, withoot really findin oot the big answers. We develop aw they long-winded ideas which jist interpret the reality ay oor lives in different weys, withoot really extending oor body ay worthwhile knowledge, about the big things, the real things. Basically, we live a short, disappointing life; and then we die. We fill oor lives up wi shite, shite like joabs n relationships, tae delude ourselves intae thinkin that it isnae aw totally pointless. Smack's an honest drug, because it strips away these delusions. It's the only really honest drug. It disnae alter yir consciousness. It jist gies ye a hit and a sense ay well-being. After that, ye see the misery ay the world as it is, and ye cannae anesthaetise yirsel against it."

"Funny scene, likesay, how aw the psychos seem tae ken each other, ken what ah means, likes?"

"Rents once sais, thirs nothin like a darker skin tone tae increase the vigilance ay the police n the magistrates: too right."

"How many shots does it take before the concept ay choice becomes obsolete?"

"Ah wonder if anybody this side of the Atlantic has ever bought a baseball bat with playing baseball in mind."

"Ah cannae feel any remorse, only anger and contempt. Ah seethed when ah saw that fuckin Union Jack oan his coffin, and that smarmy, wimpy cunt ay an officer, obviously oot ay his fuckin depth here, tryin to talk tae my Ma. Worse still, these Glasgow cunts, the auld boy's side, are here through en masse. They're fill ay shite aboot how Billy died in service ay his country n all that servile Hun crap. Billy wis a daft cunt, pure and simple. No a hero, no a martyr, just a daft cunt."

"Society invents a spurious convoluted logic tae absorb and change people whae's behaviour is outside its mainstream. Suppose that ah ken aw the pros and cons, know that ah'm gaunnae huv a short life, am ay sound mind etcetera, etcetera, but still want tae use smack? They won't let ye dae it. They won't let ye dae it, because its seen as a sign ay thir ain failure. The fact that ye jist simply choose tae reject whit they huv to offer. Choose us. Choose life. Choose mortgage payments; choose washing machines; choose cars; choose sitting oan a fuckin couch watching mind-numbing and spirit-crushing game shows, stuffing fuckin junk food intae yir mooth; choose rotting away, pishing and shiteing yersel in a home, a total fuckin embarrassment tae the selfish, fucked-up brats ye've produced. Choose life.Well, ah choose no tae choose life. If the cunts cannae handle that, it's thair fuckin problem. As Harry Lauder sais, ah jist intend tae keep right on to the end of the road ..."

"Still, failure, success, what is it? Whae gies a fuck. We aw live, then we die, in quite a short space ay time n aw. That's it; end ay fuckin story."

"Ah thought that every cunt over twenty was a toss an no worth speakin tae, until ah hit twenty. The mair ah see, the mair ah think ah wis right. After that it's aw ugly compromise, aw timid surrender, progressively until death."

"He had noted that with older people. They often try to control younger, more popular and vivacious people; usually due to the fact that they are jealous of the qualities the younger people have and they lack. These inadequacies are disguised with a benign, protective attitude."

"Ah suppose man, ah'm too much ay a perfectionist, ken? It's likesay, if things go a bit dodgy, ah jist cannae be bothered, y'know?"

"Ah've never felt anything about countries, other than total disgust. They should fuckin abolish the lot of them. Kill every fuckin parasite politician that ever mouthed lies and fascist platitudes in a shell-suit and a smarmy smile."

"He died a hero they sais. Ah remember that song: Billy Don't Be A Hero. In fact, he died a spare prick in uniform, walkin along a country road wi a rifle in his hand. He died an ignorant victim ay imperialism, understanding fuck all about the myriad circumstances that led to his death. That was the real crime, he understood fuck all about it. All he hud tae guide him through this great adventure in Ireland, which led tae his death, was a few vaguely formed sectarian sentiments. The cunt died exactly how he lived: completely fuckin scoobied."

"Ah jist shrugged, -- Well, as one anarchist plumber sais tae the other: smash the cistern."

"That cunt Nietzsche wis wide ay the mark whin he sais ah wis deid. Ah'm no deid; ah jist dinnae gie a fuck. It's no fir me tae sort every cunt's problems oot. Nae other cunt gies a fuck so how should ah? Eh?"

"Bad luck is usually transmitted by close proximity to habitual sufferers."

"The duty sergeant was going through his routine of asking each brawling set of prisoners who the Billy and who the Tim was. If the handshake is right he will let the Billy go and slap the Tim around a bit. That way everybody's happy. The Billy gets to feel superior and delude himself that being a non-churchgoing 'protestant' is somehow important; the Tim gets to feel persecuted and indulge his paranoia about masonic conspiracies; the sergeant gets to slap the Tim around."

"There's nothing worse than a violent beating from an unremarkable person. Physical violence with someone is too much like shagging them. Too much id involved."

"That's all very well as an abstract moral principle, Avril, a coffee-table theoretical construct, but there's no denying the sheer gratuitous pleasure to be derived from seeing members of the ruling class in pain and torment."

"Once you've been with each other in a primal, shagging state, it's hard to talk about the weather."

"Postal will be so politically incorrect and harsh, it's like a mirror to American society, and I don't think the movie will be well received by anybody. For example, Osama Bin Laden will be one of the lead characters—I think that shows the mood of the movie."

"House of the Dead 2 I gave away. Alone in the Dark 2 I will also not do; even if the DVD movie made money. BloodRayne 2 in the Wild West is what I really want to do."

"This day showed us that we are all completely voyeurs greedy for thrilling entertainment no matter if this is real or not."

"As you see, the reactions were really reserved from the studios..."

"We'll be sending a print to the MPAA, we say nothing about it and hope they sleep through the movie."

"There are directors that make one good movie their whole life, but this movie creates a buzz around the director, then they get like forever good reviews. Till someone 20 years later says, look, to be honest I liked only the one movie of that guy. In my case it’s exactly the opposite. I get trashed for whatever I do. They don’t see any difference in what I’m doing."

"Postal is a politically incorrect movie, and also a politically incorrect game. I think if you have a game where you can use a cat as a silencer, you cannot make this as a serious movie. So it must be a funny movie. It should be an absurd comedy...So you see there is a difference between doing something professional, and only talking about it. And all that people there in the Internet, bashing or whatever, they cannot tell a fucking story for 5 minutes."

"I totally regret as a German what happened at this point of history. But when people ask me are you, as a German, feel responsible for the Holocaust? No, because I'm born 1965 and it would be completely un-logical to say I'm responsible, but as a country we are responsible."

"It was dry and cold, not bitter, but with the kind of steady chill that makes it hard to remember being any other way. I tried to imagine people living out here once, and couldn't. It must have been long ago. The land felt like it didn't want anyone bothering it anymore."

"Nobody likes to see a body, but it's better than seeing a ghost. Bodies just make you doubt the world and the people in it. Ghosts make you doubt everything, and to doubt it in a part of the mind that has no words to answer the question, where the comforting promises you make yourself are neither believed nor even really understood."

"Forests in the day are friendly places. They remind you of Sunday walks, swooshing leaves, holding a parent's big, warm hand, or providing that hand yourself. At night the woods take the gloves off and remind you why you're nervous in the dark. Night forests say "Go find a cave, monkey-boy, this place is not for you.""

"It was all a matter of hard work and luck, and Ryan didn't mind either of those. No, the stuff that wore you down was the parts where no amount or work seemed to make the difference, where luck simply wasn't there and wasn't coming and you couldn't seem to explain that to someone who had their heart set on the world being the way it was supposed to be, instead of the way it was."

"There's nothing like the waiting room of any office of the governmentor its allies to remind you of how lucky you are. You enter a nonplace, nontime. You sit on battered chairs in murky blues and greens that nobody ever names as their favorite color. You stare at the signs that have no bearing on you, nonspecific communiqués from the land that punctuation forgot. You wait until the waiting loses all sense of direction or purpose, until you become like a stone deposited in a field millenia ago by a careless glacier. You are here. This is all you have ever known. In the meantime you are stripped of any sense of individuality, of the idea that you might be different from anyone else in the room except by virtue of your particular problem; and so you become the problem, defensively, accepting it as identity, until it swells and suppurates and becomes all you are. As a species we'll tolerate being close to others, but not so close, and not in those circumstances and when we feel so small: we become rows of dry, fretting eyes, hating everyone around us and sincerely wishing our neighbor dead so we can move up one place in the line.Or maybe it was just me."

"My limited experience of such things told me that you get closest to the truth by not giving it advance warning that you're coming after it."

"One of the big things about being a man, she'd noted, was that being good, doing the work, wasn't enough. It had to be generally acknowledged that here you were, damn well seeing to business."

"Must be a strange life these days, for toes. A simple twist of fate and they could have been the big boys, the much-feted opposables, spending their days busy carrying things and controlling machinery and touching interesting parts of people's bodies. They don't get to do any of that. Instead they just get pushed into small, dark leather places and forgotten about, and when they're let free they often seem little more than a strange fringe on the ends of your feet."

"A pencil is a simple and predictable piece of technology. There's only one way of it working (it will function when it is sharp), and an obvious failure model(too short, too blunt, no lead). With a car, especially the kind of limp-along rust bucket most of us got for our first ride, it's more complex. There's coaxing involved, especially on cold mornings. There's that noise that never amounts to anything but never goes away, random stalls you begin to put down to the cast of the moon. None of it means it's broken, just that it requires friendly attention, that it has needs. Gradually you acquire a ritualized relationship to it, a bond forged by its unpredictability, by the fact it has to be dealt with. Which is how you come to know people, after all: not by things they have in common with everyone else, but through learning your way around their eccentricities, their hard edges and unpredictable softnesses, the things that make them different from everybody else."

"All the difference in the world are as nothing compared to this: the difference between being you and being me. It makes the chasms between gods and men, between men and women, between dead and alive, seem almost trivial.You are you. She is someone else. Between lie the stars."

"It had taken me a while to work out what I got from this. You didn't watch in the hope of seeing something exciting. Just the opposite. You watched because the very lack of discernible activity, of presented subject matter, made the view itself seem more real. If you watch something in particular, all you see is that thing happening. You see the moment, the event, and you are distracted from the long, slow tide of eventlessness underlying it. If you watch nothing, then you see everything. You see the thing as it is."

"Fashion makes me furious. It always has. This summer we're all going to be wearing vermilion, are we? Says who? When we see a bikini made of squares of brightly colored plastic, why do we pretend anyone will wear it? Because, I snarled at Nina, this is what capitalism does to show off. It's our culture flopping out its dick. "Hey, you shadows in the non-English-speaking choas — just look at our surplus capacity. If we can piss all this time and effort away on such vacant crap, just imagine the gold and guns and grain we must have stashed away, how well fed and happy the citizens of Our World, Inc., must be." Except they aren't happy, and some of them aren't even very well fed — but nobody knows or cares what happens back behind these billboards for a better way of life, because life for the people who matter just keeps getting better. The whole country is turning into a muffin-padded panic room where MBAs and soccer moms sit reading books on how to love themselves more, as if that could even be remotely possible. They've turned smoky, cool coffee shops into places where the perky go to iBook the novel that will prove just how sensitive they are; made fuggy, scary bars into places that feel like Employee Relaxation Facilities of forward-thinking megacorporations. I was in a bar recently and it smelled of incense — how fucked up is that? Not smelling of cigarettes is bad enough , but spice lavender? Inside is not supposed to be fresher than outside, can't they see that? You can't stop being afraid just by pretending everything that scares you isn't there.Part of the problem, I went on — my voice now easily as obnoxious as any around us — is that I could remember a world in which nobody ran. Now running is the new giving to charity. Running is wisdom. Running is the absolute good, our ritual walkway to the gods' approval and beneficence. Run and all will be well. If we were in charge of the Catholic Church, sainthood would be conferred according to the time the candidate spent wearing Nikes. "Sure, Father Brian did good works and saved lives and stuff, but what were his splits on the mile? Fater Nate? Forget it. That guy never ran a half-marathon in his life." We have lost all sense of proportion, all sense of what is reasonable or sane, while around the world the countries that don't have the time or luxury for this bullshit are getting ever more pissed at us for behaving like we own the whole playground. But who cares, right? A great new diet is racing up the charts! J-Lo got herself some new bling — just look how pretty she is! Who gives a crap what's happening in dusty shit-holes where they don't even speak American? Life's great! Crack open a decaf Zinfandel!"

"As he drove, he was conscious of the web around him. The web of streets, of people, of places, and of things. The other web, too, the new world. This parallel place, with email address private driveways, it sdotcom marketplaces. You could find out so much there, running reality through your hands likea god's. Everything on the web is information; but everything is on the web, these days; so the world has become information. Everything has become an utterance of this thing, of this bank of words and images: everything is something it is saying, or has said. It's about buying, and looking, about our habits and desires, about contact with others, about voyeurism and aspiration and addiction. It is us boiled down — our essence, for better or worse. It is no longer passive. It is telling the story of us, and sometimes that story needs work."

"Death is real. Death changes things. Everything else is filler, merely a message from our sponsor."

"Hotels see a lot of life. Hotels get kicked around. The action the average city hotel sees would give a normal house a nervous breakdown in a day. In the small hours the building has some time to itself, to think its big, slow thoughts. To wander the halls then was to sit down with some big brick animal in darkness and listen to it breathing at rest."

"The curse of the middle-aged man was knowing — or believing — that he'd told all he had to tell. Soon as you suspect that, you started wanting something, anything, to prove it wasn't so: and that's where the mistakes started, when the bad things happened."

"You got through a day and wondered what your reward was. It soon became evident the prize was you got to withstand tomorrow too. You got through it, hour by long hour, but at the end you looked up without much expectation. You had begun the understand the score. Sure enough: today's prize was the same. Outwardly calm, but with a scream building like the sound of a long-forgotten steam engine in the back corner of a basement, you got through that tomorrow too, and a flat hardpan of further tomorrows after that. You got through enough of then to realize you'd been had, that there aren't tomorrows after all but the wretched stretch of an endless today. What can you do? Rebellion gets you nowhere."

"Hell is being alive, and being alive is all there is."

"First time you hear something, it sounds outlandish and broken and like it doesn't make sense. But once it's been in your head awhile it's as if the other thoughts in there wriggle out of the way to give it some room."

"I realized then why we respond to the sound of the waves, and the falling of rain, and wind in the trees. Because they are meaningless. They are nothing to do with us. They are outside our control. They remind us of a time, very early in our lives, when we did not understand the noises around us but simply accepted them in our ears; and so they provide blessed relief from our continual needy attempts to change our world in magic deed or endless thought. Meaningless sound, which welove against the anxiety of action, of pattern-making, of seeking to comprehend and change. As soon as we picked up someting and used it for a purpose, we were both made and damned. Tool-making gave us the world, and we lost our minds."

"The United States is different because I've spent a lot of time there since, and so there's more of a continuum. It's definitely the U.S. that has the deepest roots in my soul. I spent my childhood believing I was English, and would one day be going home. But when we came back to live here, I started to realise how much of me was bedded somewhere else. Whenever I walk out of an airport in the U.S. and smell the air, a bit of me feels it's coming home."

"My favourite memories involve the actual process of writing sketches - just a few guys lounging around in a room talking nonsense, until suddenly an idea would start to coalesce, and you'd start nudging it toward fruition. I've never laughed so much before or since. Also, there were those very, very few nights where you'd be on a stage and some strange contract developed between performers and audience, and everything you did was funny. That was magical - and a direct visceral experience that you never really get from writing prose."

"I'm not a great believer in writing courses, though it must be said I've never been in one. It probably depends on what kind of writer you are. I'm very un-analytical about what I do. I don't plan much for the first draft. I try to let characters come out by themselves, rather than designing them. But other writers work differently, and for them the teaching process - which at least forces you to consider what you're doing, and why - may be very helpful. At the very least a creative writing course mandates someone to spend a period of their life just writing, which can be hard to do otherwise. But beware of thinking too much about what you do."

"I've made my best notes sitting outside cafes on busy streets, or in murky bars in foreign cities. I sorted out a big series of problems in the novel I'm just finishing while sitting drinking a long line of solitary beers in a bar in a small coastal town. The hangover was pretty brutal, but I'm not sure I'd have found the solutions any other way. Part of the job of being a writer is learning how your head works - when to push it, when to step back. This kind of self-management is actually far harder, I think, than learning how to write decent prose."

"I'm not sure I'd want to pick the brain of any author. Some writers have a lot to say about what they write and why they write it. Others don't. I've met a lot of writers who have an awful lot to say in the bar, but whose books seem curiously empty."

"I don't think there are any irredeemable themes or tropes, just ones that are waiting for a fresh eye. Horror, science fiction, and fantasy deal with the eternal verities, the subjects that have always - and will always - speak most deeply about who we are. That's why they're the most fascinating genres, and why they're always there to be reinvented. At the very least you can ask, "This subject has been done to death now, so why are we so obsessed with it?" - and take a new angle from there."

"If I had my time again, I think maybe I'd try to be a cook. I love food and am endlessly interested in recipes, weirdly enough. But now, the occupation of "cat" would probably be nearer the mark. Sleeping. Gazing into the middle distance. Occasionally making rapid movements for no real reason. I could do that."

"When another writer in another house is not free, no writer is free."

"The question we writers are asked most often, the favorite question, is: Why do you write? I write because I have an innate need to write. I write because I can’t do normal work as other people do. I write because I want to read books like the ones I write. I write because I am angry at everyone. I write because I love sitting in a room all day writing. I write because I can partake of real life only by changing it. I write because I want others, the whole world, to know what sort of life we lived, and continue to live, in Istanbul, in Turkey. I write because I love the smell of paper, pen, and ink. I write because I believe in literature, in the art of the novel, more than I believe in anything else. I write because it is a habit, a passion. I write because I am afraid of being forgotten. I write because I like the glory and interest that writing brings. I write to be alone. Perhaps I write because I hope to understand why I am so very, very angry at everyone. I write because I like to be read. I write because once I have begun a novel, an essay, a page I want to finish it. I write because everyone expects me to write. I write because I have a childish belief in the immortality of libraries, and in the way my books sit on the shelf. I write because it is exciting to turn all life’s beauties and riches into words. I write not to tell a story but to compose a story. I write because I wish to escape from the foreboding that there is a place I must go but—as in a dream—can’t quite get to. I write because I have never managed to be happy. I write to be happy."

"I am nothing but a corpse now, a body at the bottom of a well."

"Before my birth there was infinite time, and after my death, inexhaustible time. I never thought of it before: I'd been living luminously between two eternities of darkness."

"When you love a city and have explored it frequently on foot, your body, not to mention your soul, gets to know the streets so well after a number of years that in a fit of melancholy, perhaps stirred by a light snow falling ever so sorrowfully, you'll discover your legs carrying you of their own accord toward one of your favorite promontories."

"The drinking of coffee is an absolute sin! Our Glorious Prophet did not partake of coffee because he knew it dulled the intellect, caused ulcers, hernia and sterility; he understood that coffee was nothing but the Devil's ruse."

"Try to discover who I am from my choice of words and colors, as attentive people like yourselves might examine footprints to catch a thief."

"Where there is true art and genuine virtuosity the artist can paint an incomparable masterpiece without leaving even a trace of his identity."

"What was venerated as style was nothing more than an imperfection or flaw that revealed the guilty hand."

"Yet does illustrating in a new way signify a new way of seeing?"

"For if a lover's face survives emblazoned on your heart, the world is still your home."

"A letter doesn’t communicate by words alone. A letter, just like a book, can be read by smelling it, touching it and fondling it. Thereby, intelligent folk will say, “Go on then, read what the letter tells you!” whereas the dullwitted will say, “Go on then, read what he’s written!”"

"Painting is the silence of thought and the music of sight."

"All great masters, in their work, seek that profound void within color and outside time."

"Tell me then, does love make one a fool or do only fools fall in love?"

"Are you an angel that approaching you should be so terrifying?"

"The beauty and mystery of this world only emerges through affection, attention, interest and compassion; if you want to live in that paradise where happy mares and stallions live, open your eyes wide and actually see this world by attending to its colors, details and irony."

"Books, which we mistake for consolation, only add depth to our sorrow."

"Let me first state forthright that contrary to what we've often read in books and heard from preachers, when you are a woman, you don't feel like the Devil."

"There are moments in all our lives when we realize, even as we experience them, that we are living through events we will never forget, even long afterward."

"T feel like the Devil not because I’ve murdered two men, but because my portrait has been made in this fashion."

"Suddenly, it seemed to me that the entire world was like a palace with countless rooms whose doors opened into one another. We were able to pass from one room to the next only by exercising our memories and imaginations, but most of us, in our laziness, rarely exercised these capacities, and forever remained in the same room."

"In actuality, we don’t look for smiles in pictures of bliss, but rather, for the happiness in life itself. Painters know this, but this is precisely what they cannot depict. That’s why they substitute the joy of seeing for the joy of life."

"Kenneth: If you’re so hot, you'd better tell me how to say she has ideas above her station. Brian: Oh, yes, I forgot. It's fairly easy, old boy. Elle a des idées au-dessus de sa gare."

"When you're between any kind of devil and the deep blue sea, the deep blue sea sometimes looks very inviting."

"Let us invent a character, a nice respectable, middle-class, middle-aged, maiden lady, with time on her hands and the money to help her pass it. She enjoys pictures, books, music, and the theatre and though to none of these arts (or rather, for consistency's sake, to none of these three arts and the one craft) does she bring much knowledge or discernment, at least, as she is apt to tell her cronies, she "does know what she likes". Let us call her Aunt Edna."

"A novelist may lose his readers for a few pages; a playwright never dares lose his audience for a minute."

"Do you know what le vice Anglais – the English vice – really is? Not flagellation, not pederasty – whatever the French believe it to be. It's our refusal to admit to our emotions. We think they demean us, I suppose."

"His best works will long be studied as models of playwriting and also as mirrors of the times. Rattigan can capture the social outlook of a whole period in Cause Célèbre (or the cause célèbre of The Winslow Boy). He can plumb the depths of obsessions rampant in a sedate residential hotel near Bournemouth, a crummy North London flat, a Public School, the active lives of Alexander the Great or T. E. Lawrence or Lord Nelson, the twisted lives of a financier with a charming but weak son or a rapacious woman out to snare her fifth and richest man who falls prey (willingly, self-destructively) to an ambiguous little ballet dancer. Variations on a Theme (whose plot is the last of those situations mentioned) is closely based on Dumas fils’ La Dame aux Camélias – but it is based on a steady and shrewd observation of English life in Rattigan's own time."

"Undoubtedly, Rattigan can capture the surface of life; many critics would add that he is all surface, that his works lack profundity. I do not think this charge of superficiality can be made to stick. What is true is that Rattigan's scope is narrow, but where he touches he goes very deep. What he does delve into he will not abandon until he has explored the very depths, and what he finds there he brings to the audience with some reticence but unalloyed honesty. He can make golly funny and pathos poignant and what some would dismiss as "a purely theatrical experience" deeply moving and quite unforgettable."

"It was often assumed that Rattigan was simply a purveyor of good middlebrow entertainment... Yet his whole world is a sustained assault on English middle-class values: fear of emotional commitment, terror in the face of passion, apprehension about sex. In fact, few dramatists of this century have written with more understanding of the human heart than Terence Rattigan."

"He was a great playwright who understood better than most the inequality of passion and the fear of emotional expression that haunts our national psyche."

"It's a masterpiece of understatement but then we're rather good at understatement, aren't we?"

"He appeared to be a complete model of the conforming upper-class Englishman just as his works appear to be perfect specimens of the well-made play, in reality he was not in the least conforming...there was a deeply Proustian ambivalence at the heart of him."

"Consider Separate Tables. Here, most notably, in all the goings-on concerning an unhappy army officer, the many gifts bestowed on Rattigan by providence are on parade, his humour, his integrity—above all, his compassion. There is not one character who does not speak true. There is not one sentiment expressed which is not grounded in humanity, not one line that, in any way, diminishes the dignity of man. And, as for the compassion, that most Christian of all Christian virtues, it is there in such full measure that no member of the audience, unless his heart be made of stone, will go into the street at curtain-fall, without a lift in spirit and a fuller understanding of mankind as his companion. That is Rattigan's achievement and his triumph. That, so long as theatres exist and players strut their hour upon the stage and speak the dialogue he wrote for them, is his eternal monument."

"I suppose out of that brilliant playboy talent have come two important plays, The Browning Version and The Deep Blue Sea. The rest seem to me full of moral evasions. Perhaps any homosexual dramatist who, during a time of secrecy and blackmail, presented his own emotional life in his work as if he were a woman, suffered some terrible disability. Tennessee Williams was the most successful, but then he is woman right through. I think the problem with Rattigan was that even if he had had that opportunity for frankness, his whole repressed class background, the stiff upper lip of Harrow, would have made it impossible for him. Deception and restraint are at the very heart of that kind of Englishman. I suppose it's at the heart of me, heterosexual as I am."

"[Terence Rattigan] had the greatest natural talent for the stage of any man this century."

"French execrable: theatre-sense first class."

"A critic has a duty to ignore anything happening off stage, and to make no allowances for any shortcomings that may result... All the same, I am at any rate partly human, and it would be absurd, as well as impossible, for me to persuade myself that I do not know that Terence Rattigan has for the last couple of years been staring into the eyes of the old gentleman with the scythe... So I am doubly delighted to say that Cause Célèbre (Her Majesty's) betrays no sign of failing powers; on the contrary it could almost herald a new direction for Sir Terence, and a most interesting one, too."

"It's the most amazing story and there is something extraordinarily real about the play. Why is the insight into the fear and terror so authentic? Because Rattigan lived it. The language of stiff upper lip and the understatement of wartime bravery is utterly authentic because it was what he knew and heard all around him in 1941."

"Their great success is in articulating the anxieties of difference, of the will to fit in, to be ordinary; and of a corresponding desire to be extraordinary, to be different, to be individual. It is this tension that has enabled these works to transcend the trappings of their period, which had been much of their original attraction for my grandmother in the 1940s and 1950s, and to resonate emotionally for me today."

"The critics do talk a lot of rubbish about craftsmanship because it's something they don't understand at all... The fact is that Terence Rattigan's craftsmanship is like a carriage clock. They can see the insides and the workings of it, so it makes them feel more comfortable. They think: "Oh, yes, I see, that's what he's going to do next — very good!" — And so he gets ten out of ten all the time, quite rightly."

"I detect in his plays a deep personal, surely sexual, pain, which he manages at the same time to express and disguise. The craftsmanship of which we hear so much loose talk seems to me to arise from deep psychological necessity, a drive to organise the energy that arises out of his own pain... I think Rattigan is not at all the commercial middlebrow dramatist his image suggests but someone peculiarly haunting and oblique who certainly speaks to me with resonance of existential bleakness and irresoluble carnal solitude."

"They are characterized by a refinement of mind and style that time is already beginning to prove are more than English public-school virtues and sleek techniques, as his strongest attackers claimed. Kenneth Tynan's labeling of him as the Formosa of the British theater and then Rattigan's subsequent creation of Aunt Edna, as well as his self-instituted debate in a "battle of the theatres," hounded him throughout most of his career. Yet, in what Hilary Spurling described as that "tricky but crucial (and so far almost wholly neglected) stretch of contemporary theatrical history when the stage became society's distorting mirror," Rattigan occupies a prominent place as the "oblique and delicate playwright of inarticulacy, repression, self-punishment, above all the damage people do to themselves.""

"Each of his dramas is a progressive refinement of that sense of theater of which he spoke so frequently, a sense which insisted on the duality of the playwright as both writer and audience. The loss of touch with the audience which characterized the dramatic experimentation in the revolutionary stage events since 1956 was caused to a certain degree by the elitism of many of the changes. Rattigan never lost touch. To move an audience to laughter and to tears, rather than to confusion or puzzlement, was always his primary goal, and he consistently maintained sight of that goal. Of his contemporary dramatists, he alone survived the upheavals of the 1950s with his traditional approach which renewed itself in his stage comeback of 1970. And before the experimental waves subsided into the mainstream of theater history, Rattigan once more became a part of that stream. His comedies, history plays, and moving dramas about flawed or failed characters course their way unerringly down the moral and emotional mainstream of their troubled times."

"The fact that he never felt able to write directly about his own homosexuality, taken by some to be a mark of dishonesty or cowardice, actually adds an extra level of hurt to his work."

"He must rank with Sir Noël Coward as one of the leaders of the twentieth-century stage in what has come to be known as the Theatre of Entertainment. It can be a misleading label; frequently Rattigan worked in depth. But it is true that, without venturing into what he regarded as unprofitable minority experiment, he wrote some of the most enduring narrative plays of his period, designed for a "commercial" theatre and using traditional techniques Pinero and Henry Arthur Jones would have recognized."

"From French Without Tears (1936) to his last work for the stage, Rattigan was unashamedly a West End writer, an absorbed craftsman with a wit that reflected his own friendly, generous nature. It was a pity, no doubt, that he invented, as a symbolic playgoer, the well-to-do, middle-class "Aunt Edna" whose tastes, he said, deserved as much attention as those of the avant-garde. Her name slipped into a catchphrase. Rattigan's opponents, at an hour of theatrical rebellion, took every chance to belittle a probing storyteller."

"Because it's the best idea ever invented in the history of the world!"

"There's nothing better than a party that turns into a death trap."

"Gone with the Wind, Four Weddings and a Funeral, Notting Hill, they all should have had the hero cut down by a Dalek, and they would've been vastly improved really."

"Five million Cybermen, easy. One Doctor? Now you're scared."

"We will sing to you, Doctor. The universe will sing you to your sleep. This song is ending. But the story never ends."

"Quando non si è sinceri bisogna fingere, a forza di fingere si finisce per credere; questo è il principio di ogni fede."

"Un male incerto provoca inquietudine, perché, in fondo, si spera fino all'ultimo che non sia vero; ma un male sicuro, invece, infonde per qualche tempo una squallida tranquillità."

"Good writers are monotonous, like good composers. They keep trying to perfect the one problem they were born to understand."

"In principio, dunque, era la noia, volgarmente chiamata caos. Iddio, annoiandosi della noia, creò la terra, il cielo, l'acqua, gli animali, le piante, Adamo ed Èva; i quali ultimi, annoiandosi a loro volta in paradiso, mangiarono il frutto proibito. Iddio si annoiò di loro e li cacciò dall'Eden."

"We were good friends. The news of his recent death hit me hard. I still feel the pain of his loss. And of course I remember how I responded to his early writing. When I was very young Gli Indifferenti was of crucial importance as I formed my first views about writing. I’d have to say that for me Moravia’s earlier work was also his strongest. I love the work up to and including Roman Stories. I think he thought they were perhaps too popular, too much in the mode of a sort of national narrative. Whereas for me the stories in this collection are extraordinary. He managed in that book to depersonalize himself in a masterful way...by that I mean that he recreated himself in the form of many different characters in such a convincing way. His gift for getting inside the personality of characters so totally different from himself was truly remarkable. This was a gift comparable to that of Maupassant, a writer who managed to get inside many diverse characters at a time, so as to paint a complete fresco of the France of his period, of the life of the peasants, of the servants, of the city and of the provinces. He was a really great writer who is absolutely forgotten now. I would like somehow to bring him back. (PG: Is his work translated into Italian?) NG: Yes, but now it is totally ignored. There is a work of his which I particularly love, a novel called A Life, which I’m in the process of translating now."

"Frank: There, you see, an example of assonance. Rita: Oh, it means getting' the rhyme wrong."

"Rita: Will they sack you. Frank: [lying flat on the floor] The sack? God no; that would involve making a decision. Pissed is all right. To get the sack, it'd have to be rape on a grand scale; and not just with students either. [Rita gets up and moves across to look at him] That would only amount to a slight misdemeanour. For dismissal it'd have to be nothing less than buggering the bursar."

"Rita: Have they sacked y'? Frank: Not quite. Rita: Well, why y' – packing your books away. Frank: Australia. [After a pause] Some weeks ago – made rather a night of it. Rita: Did y' bugger the bursar? Frank: Metaphorically."

"She divorced her husband, y' know. I never knew him, it was before I met Jane. Apparently she came back from work one mornin' an' found her husband in bed with the milkman. With the milkman, honest to God. Well, apparently, from that day forward Jane was a feminist. An' I've noticed, she never takes milk in her tea."

"Marriage is like the Middle East, isn't it? There's no solution."

"I'm not sayin' she's a bragger, but if you've been to Paradise, she's got a season ticket."

"Well, I flung the window open an' I shouted, "Yes, that's right Millandra – I'm goin' to Greece for the sex; sex for breakfast, sex for dinner, sex for tea, an’ sex for supper." Well, she just ignored me but this little cab driver leans out an' pipes up, "That sounds like a marvellous diet, love." "It is," I shouted back, "have y' never heard of it? It's called the 'F' Plan.""

"There is a reason why you only see those adventurous types marching off into crocodile infested waters and uncharted jungles up the Congo. Marching into somewhere like Newcastle city centre on a Saturday night is too damn wild, that’s why. I became overwhelmed with a desire to go to Sunderland. And it’s not very often you hear someone say that."

"The criminal clearly wasn't expecting to find me there. He looked back at me with an expression of sheer balaclava written all over his face."

"A writer who denies the need for structure in his work is like a squash player who claims his brilliance removes the need for a wall."

"Stories are the architects of the human mind."

"In the distinctly human sense of our existence, people are made of language."

"The writer doesn’t push story into us, he withholds information in order that we draw his story out of ourselves."

"On summer evenings, before bathtime, my dad used to pick me up by the ankles and swing me round and round! Then one arm and one leg! Like an aeroplane - Wheeeee! We trashed that bathroom."

"Failure in any given subject is the first qualification towards becoming a teacher."

"I write about violence as naturally as Jane Austen wrote about manners. Violence shapes and obsesses our society, and if we do not stop being violent we have no future. People who do not want writers to write about violence want to stop them writing about us and our time. It would be immoral not to write about violence."

"Our lives are awkward and fragile and we have only one thing to keep us sane: pity, and the man without pity is mad."

"Art is the expression of the conviction that we can have a rational relationship with the world and each other. It isn't the faith or hope that we can, it is the demonstration that we can."

"As Shakespeare himself knew, the peace, the reconciliation that he created on the stage would not last an hour on the street."

"His face was a frame of strong brutal bones, so hard, the set of his jaw so aggressive, that it brought to mind Teuton warriors, shouts, winging of axes, berserk."

"If I had not grown up in Stockerau, in the boonies of Lower Austria, than I would not be what I am now. The germ cell of burgeoning nerdism is difference. The yearning to be understood, to find opportunities to share experiences, to not be left alone with one's bizarre interest. At the same time one derives an almost perverse pleasure from wallowing in this deficit. Nerds love deficiency: that of the other, but also their own. Nerds are eager explorers, who enjoy measuring themselves against one another and also compete aggressively. And yet the nerd's existence also comprises an element of the occult, of mystery. The way in which this power is expressed or focused is very important."

"Historically speaking, the first wave of the punk/new wave (approximately 1976-1983) was primarily a movement of creative abuse of hardly-ever-used consumer media technology. Parents (usually technophile Baby boomer dads) bought expensive equipment like 8-track recorders, Super-8 and Polaroid cameras and later VHS camcorders and only used it to "document" birthday parties and other eminently boring ceremonies. But the rebellious teens found interesting new things to do with the dust-collecting media tech, and it started one of the biggest DIY revolutions of the 20th century. So punk (years before cyperpunk) was a movement of youngsters goofing around with (aka appropriating) consumer tech."

"I think that the figure of the nerd provides a beautiful template for analyzing the transformation of the disciplinary society into the control society. The nerd, in his cliche form, first stepped out upon the world stage in the mid-1970s, when we were beginning to hear the first rumblings of what would become the Cambrian explosion of the information society. The nerd must serve as comic relief for the future-anxieties of Western society. And the transformation I'm talking about is already in full swing: the police gaze of 19th- and 20th-century disciplinary society made visible the individual, which is illuminated by power. In our burgeoning technological control society, the individual is x-rayed and algorithmized. Even worse: the individuals x-ray themselves, willingly putting themselves on display."

"Jesus died for our SIMMs."

"Privacy is a bourgeois fantasy."

"The widespread inability to understand technological artifacts as fabricated entities, as social and cultural phenomena, derives from the fact that in retrospect only those technologies that prove functional for a culture and can be integrated into everyday life are 'left over.' However, the perception of what is functional, successful and useful is itself the product of social and cultural--and last but not least--political and economic processes. Selection processes and abandoned products and product forms are usually not discussed."

"In a media-based society (and of course there is no such thing as a non-media-based society consisting of more than one person) it is the signs and significants, the meanings and habits and conventions of speaking and thinking, the images and stereotypes which control everything. It is important to analyze how it is represented and of course what is not represented or how it lacks representation. It's not so much Rupert Murdoch – whose assholeness I will not dispute – that we should attack, but rather something I would call the cultural grammar of the public space. Power is formed within such a grammar. Access and non-access to each and every thing is regulated in its realm. Meanings are negotiated there."

"The human is a narrative being. We construct emotional machines, so-called “stories”, to communicate, to share the world in which we live and make it collectively experienceable. And we are pretty good at doing that. Since the primordial soup at some point mendelized into primate brains, we have either been fleeing from big cats or telling others about our escapes from the clutches of big cats. Sitting around the campfire, interpreting and breaking down the world, charging it with aura. Initially this was all very mythopoeic, and slowly it became more differentiated. But even in the post-Enlightenment age, world interpretations are not necessarily particularly rational. Good stories sell well, and the best stories are the ones that hit you in the gut, regardless of whether they would hold up to a Wikipedia check or not."

"Oh, Tolkien, that miserable Catholic. He even hated refrigerators. A technophobic academic who probable would have fucked Ireland, if Ireland were fuckable."

"Companies like Nike already use Graffiti as a standard variety in their marketing campaigns and the first people who read Naomi Klein's 'No Logo' were marketing gurus who wanted to know what they shouldn't do."

"Since the advent of modernism, artists have been seeking to loosen the entanglement of work and subject, because they saw themselves pushed into a role that they did not necessarily want to occupy: one which offered freedom and independence on the upside, but in combination with isolation and powerlessness on the downside. While the workers of the Fordist factory developed collectivist strategies to pursue their goals, the particularities of the artist's existence – cast as productive eccentricity and manic-depressive individualism – made it more difficult for artists to organize to achieve their demands and improve their precarious living and working conditions. It was only with great difficulty that this group, condemned to autonomy, could free itself from the prison of its freedom."

"The information age is an age of permanently getting stuck. Greater and greater speed is demanded. New software, new hardware, new structures, new cultural techniques. Life-long learning? Yes. But the company can't fire the secretary every six months, just because she can't cope with the new version of Excel. They can count their keystrokes, measure their productivity … but! They will never be able to sanction their inability! Because that is immanent."

"I think that Man in creating God somewhat overestimated his abilities."

"Imagination is an abuse of power."

"The great gender unifier is your asshole."

"Computer games are embedded in the cultural framework of technological developments. In the study of technological development and creativity, focusing attention on the failure, the error, the breakdown, the malfunction means opening the black box of technology. Studies have convincingly demonstrated that the widespread inability to understand technological artifacts as fabricated entities, as social and cultural phenomena, derives from the fact that in retrospect only those technologies that prove functional for a culture and can be integrated into everyday life are "left over." However, the perception of what is functional, successful and useful is itself the product of social and cultural--and last but not least--political and economic processes. Selection processes and abandoned products and product forms are usually not discussed. According to Langdon Winner, there is a sense in which all technical activity contains an inherent tendency toward forgetfulness."

"Contemporary art -- the field we are usually working in because there's money -- is mostly concerned with systems or systematic concepts. In the context of their work, artists adapt models of individual art-specific or economic or political systems like in a laboratory, to reveal the true nature of these systems by deconstructing them. So would it be fair to say that by their chameleon-like adaptation they are attempting to generate a similar system? Well... the corporate change in the art market has aged somewhat in the meantime and looks almost as old as the 'New Economy'. Now even the last snotty brat has realized that all the hogwash about the creative industries, sponsoring, fund-raising, the whole load of bullshit about the beautiful new art enterprises, was not much more than the awful veneer on the stupid, crass fanfare of neo-liberal liberation teleology. What is the truth behind the shifting spheres of activity between computer graphics, web design and the rest of all those frequency-orientated nerd pursuits? A lonely business with other lonely people at their terminals. And in the meantime the other part of the corporate identity has incidentally wasted whole countries like Argentina or Iceland. That's the real truth of the matter."

"I always wonder what the official web site of the GDR would look like if they were still around. Would they use Flash? Or HTML5?"

"The future is like the Jetsons, plus rape."

"Long time ago I called the greasy stuff on touch displays "hackerfat"... but it's better to change that to "socialsmear"."

"I blame society for Zack Snyder's career."

"The Capitalist system is a highly adaptable entity. And so it isn't surprising that alternative spaces and forms of living provided interesting ideas that could be milked and marketed. So certain structural features of these "indie" movement outputs were suddenly highly acclaimed, applied and copy-pasted into capitalist developing laboratories. These qualities fit best into the tendency in which -- by the end of the seventies -- bourgeois society started to update and re-launch using the experiences gained through countercultural projects. Mainstream harvested the knowledge that was won in these projects and used it. Normalizing dissent."

"The emergence of new media (and therefore artistic) formats is certainly interesting. But etching information into copper plates is just as exciting. We think that the perpetual return of 'the new', to cite Walter Benjamin, is nothing to write home about - except perhaps for the slave-drivers in the fashion industry. We've never been interested in the new just in itself, but in the accidental occurrence. In the moment where things don't tally, where productive confusion arises. That's why in the final analysis, although we've laughed a lot with Stewart Home, we even reject the meta-criticism of innovation-fixation articulated in 'neoism'. The new sorts itself out when it lands in the museum. Finito."

"I always loved the grand dichotomies of life. Dogs and cats. Cats and mice. Like Tom and Jerry. But as someone who grew up in Central Europe I never understood how a mouse can live inside a wall. Walls are made of bricks! They are not hollow. Way later I came to understand, when I learned that US-American houses are just made of wood, and their walls are really hollow."

"Christianity is a death cult gone horribly wrong."

"Everything in German sounds like a war crime. And everything in Austrian German sounds like a war crime served with whipped cream."

"Hasta la victoria siempre! Never forget! And let anthropomorphized kiwis puke evil provitamins on Jean-Luc Picard!"

"Did you know that if you removed all nerve cells from your brain and laid them out end-to-end in a straight line, you would die?"

"Whenever I go to a botanical garden, I think of killing people with a spade."

"Monotheism is a dictatorship. The number of the beast is 1."

"Vegas is gorgeous hyperreality, but most of the stuff people like here is not my cup of tea. I don't gamble, and I don't like Penn & Teller. I'd rather be locked into a basement full of Philip Glass recordings."

"Liberals believe being friendly and fair will make the world better. But our world runs by horrific rules. Fair-play doesn't change the rules. You just accept them."

"A guy once screamed "Rammstein is fascist" in my face. I screamed "Laibach have seen better days!" back."

"Watching a Norwegian film: character screams "Satan" and the English subtitle reads "Christ". That's was I call subliminal messaging."

"Strange to see radical anti-Semites using Facebook. I'd like to call that Zuckerberg's Paradox."

"Mankind is a sexual and tool-using species. So it's never old news to deal with the intersection of human desire and ingenuity. As biohacking, sexually enhanced bodies, genetic utopias and the plethora of gender have long been the focus of literature, science fiction and, increasingly, pornography, we explore the possibilities that fictional and authentic bodies have to offer."

"Rammstein is an award-winning music-based German-teaching system for American goths."

"Dreamt I had a meeting with the Austrian Film Institute about a grant. They told me I would never get one, but I should try insurance fraud."

"I remember when I got a new device for my computer. I connected it to the landline phone plug(!), and the device called another device and sang a robot love song to it. That made the devices connect, and I could go online and exchange messages. That was one of the most important things that ever happened to me, breaking my isolation. It helped me to reach out to other folks all around the globe. Communication is key in nerd culture. But beware if that communication fails. You can create toxic troll wastelands! Not even robot love songs can help you with that!"

"There are still films about bank robberies, but let's be honest, the biggest financial crimes today aren't happening in banks, they're happening on Wall Street. This is happening in the completely abstract datasphere. Capitalism is dependent upon this commodity of speed. Making a film about a bank robbery is maybe funny, but it's completely anachronistic. We have to tell the stories of the 21st century, specifically in a way that people can relate to it."

"Leftist memes are 25 pages long and have footnotes. (Original German: Linke Memes sind 25 Seiten lang und haben Fußnoten.)"

"[Glossary of Broken Dreams] was born out of the frustration that debate culture (not only) on digital platforms has become radically fragmented and fractalized, making it hard to call it discourse. It's a Tower of Babel-like context confusion that pleases me as a nerd, but as a political being who wants society to progress, it doesn't please me at all. [...] I just thought it was time for something like a political spring cleaning of concepts. Because picking up the broom and taking a chance to get rid of stuff is the only way to prevent us all from becoming social liberal hoarders. One of my examples is the concept of privacy that, at the moment, everyone coddles like a puppy. Let me say this, as a good old Neo-leftist, I'm having problems with the conservative and deeply bourgeois can of worms that the privacy debate entails. I think it's time to change our thought patterns here. Instead of trying to find ways to defend our privacy come hell or high water, we should ask ourselves why privacy is such a major concern for us? Is what we're trying to achieve here just reformist symptom-control rather than a solution to the underlying problems?"

"It's not working from home, it's living at work."

"Conspiracy theories (actually: hypotheses) are comforting, anthropocentric, affirming constructs. They assume that someone runs the world, that someone is in control. The sad truth is that nobody is in control. That's way more terrifying."

"My nerdy teenage rebellion was to confront my parents with the scientific method, challenging their weird beliefs, asking for peer-reviewed data and scientific context. I remember that one day when I was 15, I asked my mother to use her divining rod and a piece of paper to determine the first 30 decimal values of pi. It took her three hours and not a single one was right. That felt like a huge success, but she just told me she had a bad day because of the full moon. Tomorrow she would try again and would succeed. And if not, who says that the 30 digits of pi in the math books are actually right? Maybe her version was correct in the first place and she had access to a higher knowledge? It simply wasn't possible to challenge her."

"Sometimes I surprise myself with my own face."

"Don't cry for me, cry for Argentina!"

"After the Soviet Union turned into many, many little non-Soviet countries... it was crazy. It was like a lot of pop-ups on Firefox, and you try to click them away, but it doesn't work!"

"Is Corona laboratory-made? Nah. I think it's way more reasonable to assume that a bat fucked a pangolin. And some guy then fucked that pangolin. Mystery solved. Occam's razor."

"Even if mankind had any desire to rid itself of the Seven Deadly Sins, Greed had been assured of a place in our hearts by virtue of time. By writing it down on a piece of paper and parading it as law and belief, Greed could be resurrected at a moment's notice. That was the beauty of the written word. It was invariably taken at face value and granted permit to be spoken as the truth. It lived longer than the man. And wreaked havoc in the process."

"When all the hope is gone, there is no reason for pessimism."

"I OWE Christianity a debt, and so, I believe, does the world we have lived in for the last 2000 years."

"Christianity also owes me an explanation... For the bigotry, the wickedness, the inhumanity and the wilful ignorance which has also characterized much of its history."

"My tattoos symbolise something to me, after all they will remain with me forever."

"I wish I were big."

"There are certain things you should expect from a President. I ought to care more about you than I do about me... I ought to care more about what's right than I do about what's popular. I ought to be willing to give this whole thing up for something I believe in."

"This movie is about the fact that personal repression gives rise to larger political oppression.… That when we're afraid of certain things in ourselves or we're afraid of change, we project those fears on to other things, and a lot of very ugly social situations can develop."

"Writing is all about the preservation of your own voice. So if you give that voice away by guessing what you think and you think and you think as you go, you’ll have less to say and then it’ll go away completely!"

"I love almost all of Stanley Kubrick, there’s almost no Stanley Kubrick I don’t love. I love Lolita, I love Dr. Strangelove. I love A Clockwork Orange, obviously. I even like a lot of Barry Lyndon (laughs). And early stuff, like The Killing and Paths of Glory. … It’s ridiculous. Look, he made the best comedy ever, he may have made one of the best science fiction movies ever, he made the best horror movie ever. I couldn’t watch the end of The Shining. I went through half The Shining for years before I could finish, because I’m a writer and as soon as he starts writing “All work and no play makes Jack a dull boy,” I had to turn it off. It’s almost like Picasso in that he mastered so many different genres. … he took his time and patience and he had a crew of like 18 people. They were very handmade movies these were not large behemoths that he did; they were very thoughtful and his editing process was long. He’s kind of without peer really. If I was gonna settle on a director, probably Kubrick."

"I’m trying to capture what was visceral in the books, which is your first-person present tense narrative, and that’s gonna require a certain amount of subjectivity. In order to be in Katniss’ point of view and in her shoes — what being in a character’s point of view is, is restricting the information that the audience has to what that character has, and not being writer omniscient. I’m not cutting from place-to-place, I’m moving in this serpentine, destabilized path as Katniss wanders through this world. That’s not only true in the shooting style, it’s also true in the editing style. … This was a very conscious decision to create a very subjective style because the books are so subjective, they’re first-person and they’re urgent and you see the world as she sees the world, so that was the reason for it."

"Must be awfully lucky to see colors like that. I bet they don't even know how lucky they are."

"There are some places … that the road doesn't go in a circle. There are some places where the road keeps going."

"Huck and — and the slave.... they … they were going up the river, trying to get free…. and — in trying to get free … they see that they're sort of free already…"

"I know you want it to stay pleasant around here, but — there are so many things … that are so much better. Like silly, or sexy, or dangerous … or brief. And every one of those things is in you all the time, if you just have the guts to look for them."

"He was a small horse, barely fifteen hands. He was hurting, too. There was a limp in his walk, a wheezing when he breathed. Smith didn't pay attention to that, he was looking the horse in the eye."

"You know, everyone thinks we got this broken down horse and fixed him, but we didn't. He fixed us. Every one of us. And I guess in a way, we fixed each other, too."

"Gary Ross is amazing. He’s just — he always has a billion ideas of what he wants, but has a very clear perspective also; he just makes it work. He really does. He’s trying different things and making everything look amazing."

"Ambitious, ingenious and visually breathtaking, Pleasantville is a rarity in contemporary filmmaking; a fully-realized vision that succeeds on multiple levels. Writer and director Gary Ross has crafted a wondrous experience that satisfies as a comedy, a fantasy, a drama and a parable. Movies don't get much better than this."

"My most important professional accomplishment? I think that it's that I'm so scintillating and engaging in an interview."

"That movie has more of an enduring fascination for other people than it does for us."

"Our mother tried to get us to come here for many, many years … But, you know, life intervenes — we've been busy."

"The world is full of complainers. But the fact is, nothing comes with a guarantee. I don't care if you're the Pope of Rome, President of the United States, or even Man of the Year — something can always go wrong. And go ahead, complain, tell your problems to your neighbor, ask for help — watch him fly. Now in Russia, they got it mapped out so that everyone pulls for everyone else — that's the theory, anyway. But what I know about is Texas … And down here... you're on your own."

"Something pretty fucking weird is going on. Put your coat on and I'll drop you at home. But don't talk to either of 'em until I do. And don't worry. Believe me. These things always have a logical explanation. Usually."

"Prison life is more structured than most men care for…"

"We're only interested in one thing, Bart. Can you tell a story? Can you make us laugh? Can you make us cry? Can you make us want to break out in joyous song? Is that more than one thing? Okay!"

"Mind if I sit down? I'm carrying quite a load here."

"I guess that was your accomplice in the wood chipper. And those three people in Brainerd. And for what? For a little bit of money. There's more to life than a little money, you know. Don't you know that? And here ya are, and it's a beautiful day. Well, I just don't understand it."

"Look, let me explain something to you. I'm not Mr. Lebowski. You're Mr. Lebowski. I'm the Dude. So that's what you call me. That, or His Dudeness … Duder … or El Duderino, if, you know, you're not into the whole brevity thing."

"Nihilists! Fuck me. I mean, say what you like about the tenets of National Socialism, Dude, at least it's an ethos."

"The Dude abides."

"Damn! We're in a tight spot!"

"Pete, it's a fool that looks for logic in the chambers of the human heart."

"They got this guy, in Germany. Fritz Something-or-other. Or is it? Maybe it's Werner. Anyway, he's got this theory, you wanna test something, you know, scientifically — how the planets go round the sun, what sunspots are made of, why the water comes out of the tap — well, you gotta look at it. But sometimes you look at it, your looking changes it. Ya can't know the reality of what happened, or what would've happened if you hadn't-a stuck in your own goddamn schnozz. So there is no "what happened"? Not in any sense that we can grasp, with our puny minds. Because our minds... our minds get in the way. Looking at something changes it. They call it the "Uncertainty Principle". Sure, it sounds screwy, but even Einstein says the guy's on to something."

"The more you look, the less you really know."

"The crime you see now, it's hard to even take its measure. It's not that I'm afraid of it. I always knew you had to be willin' to die to even do this job. But, I don't want to push my chips forward and go out and meet somethin' I don't understand. A man would have to put his soul at hazard. He'd have to say: "O.K., I'll be part of this world.""

"What's the most you've ever lost on a coin toss?"

"If the rule you followed brought you to this, of what use was the rule?"

"The coin don't have no say! It's just you!"

"You go for a man hard enough and fast enough, he don't have time to think about how many's with him; he thinks about himself, and how he might get clear of that wrath that's about to set down on him."

"The Coens seem to have less affinity for the cult of Lebowski than Bridges, so it's hard to imagine them being very proud of what they've spawned. But I can't think of two people I'd rather shoot the shit with. Besides Bridges, of course."

"I'm a bit puzzled why most critics think Miller's Crossing is their best. I find it too cold and postmodern. But pretty much everything else is amazing. I think some of their lesser-loved films, like The Hudsucker Proxy and The Man Who Wasn't There are my favourites. But then, Barton Fink, Raising Arizona, No Country For Old Men… They're really the best films of our time. The Coens are better candidates for heroes of modern literature than Philip Roth, Don DeLillo, Will Self, Ian McEwan or any other award-winning novelist."

"I like the Coen brothers. Their films are smart and disturbing."

"I write about power, that's my real subject - how you get it, what you do with it, how you abuse it. I'm equally wary of liberals and conservatives."

"It is true that one of the first acts of tyrants is to erase history, to wipe out the recorded memory of a people. With that in mind, it's important to remember that the work that we do as writers, artists and performers will form an essential part of the collective memory that future generations will draw upon. And so we owe it to those future generations to defend that memory and be honest witnesses to our times."

"Torture injures everyone who comes into contact with it and corrodes the country that abides it."

"I’m sympathetic to the decent and hapless footsoldier into whose lap falls the unenviable duty of carrying out fubar policies."

"We by nature mistrust authority no matter who wields it—and I think that’s healthy. Though I disagreed with him on the facts, I fully support Rep. Joe Wilson’s right to call out President Obama—I just wish Democrats had had the balls to call out President Bush when he was peddling his lies to Congress."

"In L.A., the only thing within walking distance is your car."

"Women write crime better than men do. Men tend to play it safe, relying on an old-boy's network (to get work). Women feel freer. They swing for the bleachers."

"Man has only the rights he can defend. Our most basic right is life. It's enshrined not only in our Constitution, but in the charter of the United Nations. The prohibition against taking a life is found in our most ancient texts and in the statutes of every nation. Every murder, whether in Brooklyn, Santiago, Rwanda or Kosovo, demands punishment by whatever legal means possible. Otherwise, the right to life is just an empty promise. The law against murder applies to all. No matter the perpetrator, the victim, or the country where the murder is committed. It is the one moral law that recognizes no national, racial or religious boundaries. It can tolerate no exception. There is one law. One law. And when that law is broken it is the duty of every officer of any court to rise in defense of that law, and bring their full power and diligence to bear against the law breaker. Because Man has only those rights he can defend. Only those rights."

"If you're going to play stickball in Canarsie you better learn Brooklyn rules."

"I'm playing legal tiddlywinks with these punks. What I'd really like to do is take 'em up to Battery Park and hang 'em by the scrotum."

"I'll make sure you go away for so long, they'll be planting tomatoes on Mars by the time you get out."

"Just how far up your ass is your head?!"

"Nobody's reasonable when they're in love. That's the whole point of it."

"Beauty, brains, and a complete psycho. My dream girl."

"Your client's not insane... he's in love. Maybe it's hard for you to tell the two apart, but the law can."

"The search for truth...It's not for the faint-hearted."

"The more I know, the less I sleep."

"Bad guys do what good guys dream."

"Oh, the Patriot Act. I read that in its original title, 1984."

"It's not enough to do good. You have to be seen doing good."

"See? That's what happens when you keep people from doing what they do best: It makes them insane."

"Justice is a jagged road."

"...Hades had opened its gates and vomited forth the basest, most despicable, most horrible demons. In the course of my life I had seen something of untrammeled human insights of horror of panic. I had taken part in a dozen battles in the First World War, had experienced barrages, gassings, going over the top. I had witnessed the turmoil of the postwar era, the crushing uprisings, street battles, meeting hall brawls. I was present among the bystanders during the Hitler Putsch in 1923 in Munich. I saw the early period of Nazi rule in Berlin. But none of this was comparable to those days in Vienna. What was unleashed upon Vienna had nothing to do with [the] seizure of power in Germany. ...What was unleashed upon Vienna was a torrent of envy, jealousy, bitterness, blind, malignant craving for revenge. All better instincts were silenced... only the torpid masses had been unchained. ...It was the witch's Sabbath of the mob. All that makes for human dignity was buried."

"Imagine that. All the men of Germany marching in step with even their wotsits hanging the same way."

"Oh that music - how it goes through one -"

"I couldn't incriminate myself if I tried. And when it comes to the workings of the government I'd just as soon look away, anyway. You never know what you'll see."

"Sudhof's general characterization stresses three points: 1. Although Zuckmayer never pursued narrow topical ideas, his goal was to protect man, to formulate the claim of humaneness. ...he tried to transfer the traditions of German classicism into modernity. 2. The landscape of Rhenish Hesse was an important element stressing ties to his home region in almost all of his works. 3. His work is not prophetic in character; it does not intend to proclaim any particular political or philosophical teaching but rather attempts to mirror his time... He is an optimistic author who believes in man's inherent good."

"I know very well the sorts of pressures you're under in television. I don't work in television anymore myself, but I'm constantly hearing from colleagues who present scripts to networks and are told, "The script is too complex. You have to keep it simple because the audience is dumb. You can make more money for the advertisers that way.""

"Film is an artificial construct. It pretends to reconstruct reality. But it doesn't do that—it's a manipulative form. It's a lie that can reveal the truth. But if a film isn't a work of art, it's just complicit with the process of manipulation."

"All of my films constitute a reaction against mainstream cinema. Every serious form of art sees the receiver as a partner in the undertaking. In fact, that's one of the preconditions of humanistic thought. In cinema, this fact, which should be self-evident, has been overlooked and replaced by an emphasis on the commercial aspects of the medium."

"Today's conventional cinema, or mass cinema, doesn't take the receiver seriously as a partner. It sees the audience member as a bank machine, whose only function is to spit out money."

"My films are intended as polemical statements against the American 'barrel down' cinema and its dis-empowerment of the spectator. They are an appeal for a cinema of insistent questions instead of false (because too quick) answers, for clarifying distance in place of violating closeness, for provocation and dialogue instead of consumption and consensus."

"Pornography, it seems to me, is no different from war films or propaganda films in that it tries to make the visceral, horrific, or transgressive elements of life consumable. Propaganda is far more pornographic than a home video of two people fucking."

"Film is 24 lies per second at the service of truth, or at the service of the attempt to find the truth."

"My favourite film-maker of the decade is Abbas Kiarostami. He achieves a simplicity that's so difficult to attain."

"I do think that our perception of reality is fragmentary, and in 20th-century literature, it's totally normal to not describe reality as something whole and completely transportable and explicable. That's been accepted in novels. But genre films always pretend that reality is transportable, which means that it is explicable."

"Consider the pigeon just a pigeon...There are lots of pigeons in Paris."

"I started watching reality shows and being horrified at people signing up to be humiliated in front of the entire country. … I saw one show, The Amazing Race, in which people were eating spicy soup and vomiting and crying. Why would you do that? Also, I was fascinated by these actors and actresses who would sign up to be followed around by cameras in their life. You become a celebrity, not because of your work or what you do, but because you have no privacy. I've been careful to keep my life separate because it's important to me to have privacy and for my life not to be a marketing device for a movie or a TV show. It's worth more than that. I'm worth more than that."

"We treat sex so casually and use it for everything but what it is — which is ultimately making another human being with thoughts and feelings and rights who will grow up to be an adult."

"There are some issues I'm more conservative on. As a parent, I'm concerned that there are so many young, young, young kids — like 12 years old — that are starting to have sex."

"I conceived this story [ MW ] with the intention of presenting readers a picaresque drama that distort the traditional atmosphere of my stories leave them stunned."

"I wish that all the ills of society - conformism, laziness, indolence, betrayal, violence, lust, rape - and especially the evils of politics will be represented in the form of an absolute depravity."

"Now I feel a great regret. My style inadequate forces me to complete the work without being able ..."

"When Superman and Batman came to Japan, it was right after the war, right? Together with the G.I.s. In other words, our height and theirs was completely different. We were totally overwhelmed physically, and got this complex about being unable to compete with White people. It was just then that Superman arrived, the White man’s representative, and I thought who the hell does he think he is? And then Lois Lane, the classic American beauty. Even her outfit and her makeup were like a foreign woman’s. Of course today Japanese make themselves up more like foreigners than foreigners do. Ha ha ha."

"Ha ha ha. But at the time, everyone in Superman looked like an alien from another planet. Compared with that, Mickey Mouse was just an animal, and so was easier to use. That’s the side I got consumed with. So just maybe, had I felt more in common with Superman, my drawing style would have been different."

"The children face problems such as violence, abuse, suicide etc. that medicine can not heal. It will never help these children psychologically and be his support ...? Even when they are in difficulty, in principle they do not speak with adults, or confide about their true intentions. However, expect some serious messages from adults. I will continue to send messages through manga. Children avoid them what force or what they want to impose anything. That is why I will continue to look for those things that [...] inspire their hearts."

"The new readers have mentality, fashions, feelings completely different from those of previous readers. Should I draw comics following my first readers in their growth? Or should I stop doing the cartoonist? ... More or less every three years a cartoonist for children is cornered. I, too, every three years, living a crisis. So I decide and I get back to work for my new readers as if they were the first. ... This is why I am certain that the good work that will draw able to make happy readers of all time."

"The science fiction and manga readers had the same ... Most fiction writers then had had some experience in the comic and some of it had even been absorbed completely ... I can not understand why those who love science fiction also loves the manga and vice versa. There are two kinds characterized by a biting satire and at worst are called "extravagant". ... Both are aimed toward the future, and therefore contain romantic adventures for young people."

"I feel there is sensuality ... eroticism in the primary things that move, like animals and insects. Being able to inspire the movement to still images ... gives me the joy of the creator that breathes life into things that do not have life. The movement must be sufficiently round and sweet ... so express its eroticism. In creating cartoons I always think of an ideal, but ... half the finish to doubt the rightness of what I'm doing. So I put all my expectations always work next. * * [...] I often say jokingly that comics are my true wife and that the cartoons are my lover. The fact that I am fully dedicated to animation, my lover ... is because it allows me to express in a sublime ... the interesting metamorphosis of a changing body. For me, the greatest fun, no doubt, lies in the draw and give movement to change processes. Always look in my cartons this metamorphosis."

"I am convinced that comics should not only make people laugh. For this in my stories found tears, anger, hatred, pain and end not always happy."

"Long ago, many of the small hells that took place in the camps right next to my house showed the joy of living, and tirelessly despite everything"

"What I try to appeal through my works is simple. The opinion is just a simple message that follows: "Love all the creatures! Love everything that has life"! I have been trying to express this message in every one of my works. Though it has taken the different forms like "the presentation of nature," "the blessing of life," "the suspicion of too much science-oriented civilisation," anti-war and so on."

"Comics are an international language, they can cross boundaries and generations. Comics are a bridge between all cultures"

"I first followed the comics of Tagawa Suihō and Yokoyama Ryūichi. But suddenly, once I became devoted to Disney, I set out to copy and master that stuffed-animal style, eventually ending up with how I now draw."

"Those American comics themselves were heavily influenced by Keaton’s comedies, Mack Sennett, those sorts of films from the golden age of comedy. The gagmen that appeared there, for example Roscoe Arbuckle or Ben Turpin, there were lots of comics that used their style, their faces just as is. Especially Chaplin with his bowed legs and over-sized shoes. Those sorts of features were used directly in comics. In that era, all American cartoonists imitated the stars of comedy. That is what I worked so hard at copying, and so that’s why my comics are bowlegged and big-shoed. At the level of content too I was deeply influenced by the strong social caricatures of Chaplin’s comedies, the tears mixed with the laughter. The biggest influence of all was the rhythm."

"Around 1945, daily life might have been hard, but the reputation of Disney was at its highest. The voices of Mickey Mouse and Donald Duck had stabilized, Snow White and Bambi were huge hits and had received a number of international prizes. It really was like the brightness of a rising sun. And then Japanese children after the war had no choice but to face the flood of Disney comics that accompanied the brainwashing of “American democracy.” That was their merit as propaganda against the Japanese."

"Tezuka (1928–1989) was a frail child with a limp who spent his spare time drawing insects. By high school he had seen several doctors, most notably one who treated drawing-related arm injuries. Ironically, he chose to study medicine because of the physically and financially straining prospect of being a cartoonist, but he continued to draw throughout his years at Osaka University Medical School. His first book of manga (Japanese for comics), which he published in 1947 at the age of 19, sold 400 000 copies."

"After graduation, Tezuka became a full-time cartoonist and hit the big time with Astro Boy, about a robot boy who is rescued by a sympathetic doctor. In 1963, Astro Boy became the first homegrown animated cartoon to air in Japan, giving birth to the billion-dollar anime industry. Tezuka had created one of Japan’s most enduring post–World War II cultural exports. But in the late 1960s people started to complain that cartoons were rotting kids’ brains and teachers began enforcing a “no comics” rule in the classroom. Tezuka’s cutesy animated television shows, so novel in the 1950s, became laughable during the 1960s. Tezuka responded by creating some of the most outrageously racy, controversial, morbid adult-oriented comics, ever."

"Tezuka Osamu was born the eldest son of three children on November 3rd, 1928, in Toyonaka City, Osaka. An extremely witty and imaginative boy, he grew up in a liberal family exposed to manga and animation. As a boy he also had a love for insects reminiscent of Fabre, and, reflecting the level of his interest in the insect world, later incorporated the ideogram for "insect" into his pen name. Having developed an intense understanding of the preciousness of life from his wartime experience, Tezuka Osamu aimed to become a physician and later earned his license, but ultimately chose the profession he loved best: manga artist and animated film writer. Tezuka Osamu's manga and animated films had a tremendous impact on the shaping of the psychology of Japan's postwar youth. His work changed the concept of the Japanese cartoon, transforming it into an irresistible art form and incorporating a variety of new styles in creating the "story cartoon." Changing the face of literature and movies, his work also influenced a range of other genres."

"His enduring theme that of the preciousness of life, formed the crux of all of Tezuka Osamu's works. Tezuka Osamu, creator of a great cultural asset and gifted with an unbeatable pioneering spirit combined with an enduring passion for his work and a consistent view to the future, lived out his entire life tirelessly pursuing his efforts, passing away at the age of 60 on February 9th, 1989."

"Tezuka is a hero in Japan, a pioneer on equal standing with the world’s other great illustrators and animators, including Walt Disney. This high status is a result of his prolific output, innovative style and the role he played in elevating manga to a form of art. Tezuka’s legacy continues to grow in Japan and abroad as new reissues or translations of his more than 700 publications are released — from tales of robot “Astro Boy” to the troubled world of doctor “Black Jack.” Then there are the ongoing exhibitions of his work at museums across Japan, including the Tezuka Osamu Manga Museum in his hometown of Takarazuka, Hyogo Prefecture."

"Tezuka amazed all with his attention to detail and drawing abilities, and some teachers were so impressed that they nurtured his talents through the difficult years of World War II. In 1944, when all students were required to leave school and join the war effort by working in factories, Tezuka would draw manga and leave it in the toilets for other workers to read. But one memory from his childhood would linger longer than the others: the firebombing of Osaka. The devastation of that event, and the war that caused it, left a lasting mark on the young artist."

"Tezuka could never completely abandon medicine. Although he never actively practiced, he became a licensed doctor later in life, and one of his most famous manga series stars the rogue genius doctor, Black Jack. But life as both a doctor and an in-demand (though underpaid) young artist was difficult. Tezuka struggled to meet deadlines and commitments. His family feared for his health and begged him to focus on medicine, but he had become too successful, and too passionate, to stop."

"Tezuka continued producing work at an astounding pace right up until his untimely death from stomach cancer at 60. Nothing could slow him: not censorship, the demands of various editors nor changes in drawing trends (even when more realistic — i.e., more time consuming — illustrations became popular)."

"Tezuka was born in Toyanaka City, Osaka, in 1928. Though he attended medical school and became a licensed physician, he chose not to work as a doctor and instead devoted himself to writing and drawing manga and making animated films. Over the course of his long career Tezuka became a defining force in shaping the genre, publishing more than 700 manga running to more than 150,000 pages. Early Tezuka characters had large eyes, inspired by their American counterparts Betty Boop and Disney's Bambi. Large eyes have since become a stylistic hallmark of the whole genre."

"For Tezuka, a doctor is not just someone who heals the body, but someone who appreciates the value of life, and inspires others to value it as well. In Tezuka's Buddhist cosmology all life is sacred and nothing is more valuable than creating or continuing life."

"Would we have manga without Tezuka? According to Gravett, the question "is rather like asking if we would have French-language comics without Herge, or American comic books without Jack Kirby. Tezuka was pivotal and a huge inspiration [for manga artists].""

"He had few opportunities to talk with foreigners in Japanese. And Tezuka was an intensely curious person, because he was drawing so much. He always needed stories, he always needed information. Because he often had in parallel three or four stories that he was working on. He was like a sponge. He was a real intellectual, kind of unique, differentiated a little from other manga artists in the sense that not only had he gone to college, but he had gone to medical school. He was a licensed physician. He had read German literature, Russian literature, American literature, Japanese literature. He was from a completely different orbit. An anomaly in the industry, and he remains so. So I think he was always interested in what’s going on in the outside world, and I think with Jared and me, since we both spoke Japanese very well, he found some value in a friendship with us. He was very nice to me, I must say. He changed my life. I only knew him from 1977 to when he died in 1989, so a relatively short time. But I often wondered how is it that he had time to even think about some things. Like sometimes he’d send a postcard, or sometimes he’d call, he wanted to know something like, “what do you think about this?” And then he would always say something like “when you going to get married?” Something like that, like a father almost, because he was older than I was. I’ve often wondered how he had time to think about it, or write. I have letters that he wrote, I don’t know how he had time."

"After Tezuka passed away there were so many memorial publications and documentaries. He was so lauded, it was a huge national event in Japan. And then of course inevitably after a certain number of years there’s this “anti-Tezuka movement,” simply because his influence was so great, at some point you have to revolt against him. Some people have said, “how could he possibly have done all that stuff? It’s not possible.” From the standpoint of Americans, they would think nobody could be that productive. You could not draw that amount of stuff. But of course in the case of Americans, they’re usually not aware of the Japanese production system that Tezuka was responsible largely for developing, how that operated. He was like a movie director: He had people who would fill in the bushes in the background, spot the blacks and that kind of thing, but he was in charge, he drew the characters and he broke down the story. He may have had all kinds of assistants drawing the squares on the page for the panels and spotting the blacks and doing background designs and stuff, but it was his work."

"Q: Tezuka passed away in '89. He didn’t live to see Evangelion or Pokémon happen. Of course it’s difficult to speculate, but what do you think he would think to see what happened since then?"

"[H]e also saw manga and anime as a vehicle for — not to sound too idealistic — international peace. And he really believed in international communication. He believed that better communication was the key to world peace. In today’s world that sounds almost naïve."

"Most of the time he was outside of the system in a sense because he was a manga artist. Manga were not as accepted as they are today. So he was this highly intellectual individual working in a field that doesn’t have a lot of legitimacy like it does today. So in that sense he could comment on things as an outsider. He tended to sometimes stake out slightly different positions. Let’s put it this way: sometimes he would modify his positions a little bit depending on who he was talking to. But he was very anti-war, anti-military, that is through and through in all his life. And actually it’s not just Tezuka, but also everyone in his generation. It was an ideology."

"Q: You could read some lightly anti-capitalist themes in some of his work, but it’s hard to say how much is just anti-authority."

"Q: There’s been this roller-coaster ride of Tezuka’s reputation in the West. He went from being unknown to being known as the “Astro Boy guy” to it being almost reversed and people knowing him for super dark adult comics. How do you think he ought to be remembered?"

"Q: It’s been pretty rare that we’ve gotten good adaptations of Tezuka’s work. Pluto is one of the rare ones that's really good. Why do you think that is?"

"If there is anything worthwhile doing for the sake of culture, then it is touching on subject matters and situations which link people, and not those that divide people. There are too many things in the world which divide people, such as religion, politics, history, and nationalism. If culture is capable of anything, then it is finding that which unites us all. And there are so many things which unite people. It doesn't matter who you are or who I am, if your tooth aches or mine, it's still the same pain. Feelings are what link people together, because the word "love" has the same meaning for everybody. Or "fear", or "suffering". We all fear the same way and the same things. And we all love in the same way. That's why I tell about these things, because in all other things I immediately find division."

"I don't make biographical films … None of the films is about me. Not a single one. None. I have my life and I'll simply never tell anyone what part of me is in my films. I won't ever tell anyone about that, because I don't consider that to be anyone else's business but mine. Nobody will guess where and how and in what way I fill them with my own pains. And that's an intimate aspect of my work that I keep to myself. … I won't even tell my wife — ever."

"Having followed Kieslowski around Oxford for a day, heard him speak twice, and interviewed him in private, I still find myself in search of the Kieslowski whose name appears at the beginning of some of the most remarkable films in our otherwise cinematically uninspired age. Kieslowski's rise from relative obscurity, to being universally recognised among the ranks of the world's most gifted living film-makers, was meteoric. … Listening to Kieslowski, one is struck by his self-professed lack of faith in the medium with which he has come to address what many hold to be the spiritual malaise of our times. He has become known as someone who finds redemption in our common humanity. In particular, he bemoans the camera as a "stupid" instrument, which, unlike the novel, "cannot show a character's inner feelings." Asked halfway through the Union speaker meeting whether he even likes films, Kieslowski deadpans "No". When questioned as to his greatest cinematic inspirations, he replies: "Life and Literature." As for Hollywood directors whom he admires, he thinks long before coming up with Chaplin and Hitchcock."

"I am always reluctant to single out some particular feature of the work of a major filmmaker because it tends inevitably to simplify and reduce the work. But in this book of screenplays by Krzysztof Kieślowski and his co-author, Krzysztof Piesiewicz, it should not be out of place to observe that they have the very rare ability to dramatize their ideas rather than just talking about them. By making their points through the dramatic action of the story they gain the added power of allowing the audience to discover what's really going on rather than being told. They do this with such dazzling skill, you never see the ideas coming and don't realize until much later how profoundly they have reached your heart."

"The thing that I loved so much about the monsters is that the assumption is that they're broken and that fixing them no longer makes them a monster so they have to stay that way. And if you want to write something sort of complicated that's about kind of the nature of us all having a monster inside of us, I mean, I think that's why the monsters have endured. They're all weird reflections of aspects of our personalities. I can't really think of anything I'd rather be doing than that."

"I think, about a lot of these monsters is that there are these very central, basic, human emotions that you can talk about when you talk about these monsters. You can talk about Dracula’s longing for love, you can talk about the Mummy’s longing for love. So as messed up as they may be in terms of their behavior, and they are monsters, there always has to be a rooting and an understandable idea behind why they are who they are."

"But what it really is about is storytelling. Character, story, character, story and that kind of got me through, and then I just wrote my ass off. Everything I've directed, I've written. So whenever anybody asks me how to become a director, I say "For me, you've got to write." Nobody ever offered me anything the first five years, so I just wrote my own."

"What's great is that he's written this, so there's never any confusion between what the writer wants and what the director wants. He always rewriting and tweaking and I like that. I like somebody who's passionate about their project and what they're doing. And he shows up and he knows exactly what he wants and he's incredibly clear. He mustn't be given caffeine. He's got more energy that anybody I've ever seen. It's extraordinary when you think how much of a weight this production must be for a director. I'd be terrified. He's endlessly brilliant and fun and comes up with really good notes. It's been really great."

"Everything started by a word and a word will end it all. (The motto of Miho Mosulishvili)"

"As it seems to me, skill of the writer in abilities not only to write, but will delete everything that is unessential."

": From Biography"

"If you, weary of the dim, harassing life decide to spend some of your miserable time at the river, it will surely bring along your corpse. But where are you going to be then? Still on the bank or will the Soul River drift you away?"

"I would write, edit, rewrite and re-edit the text. However, I still felt that I was miles away from the ideal version of the story born and still alive in me. I ran towards it with all my might and when I thought I had finally captured it, it would slip away from me and disappear. It looked more like an everlasting vision of an oasis in the mind of the thirsty pilgrim wandering in the desert. Finally, I realised I would never be able to record it in a way that makes myself completely happy with it. I had felt this earlier, but did not want to acknowledge the feeling, I did not want to feel defeated. Now I know - unless the writer suffers, goes through difficulties and finally, feels beaten, like me; if he writes the way he himself wants to write, if he wins over the story, he is dead and finished, as a writer... So, in a nutshell, the writer faces the possibility to die after finishing each of his/her works. However, it is better not to use that possibility until the end..."

"In the dreams of the villagers a huge bear, a mythical apparition from the fading past, restored like Phoenix, walked around powerfully. Standing on her hind legs, moving towards them proudly, roaring with rage, and the horrified villagers, who could not fire in their dreams and could not even find their own voices, would open their eyes, bathed in sweat and would listen, listen in terror for the nocturnal screeches of eagle-owls scratching the darkness of the Cherith gorge, like meteors, disturbing and trembling."

"And Vache believes that the she-bear is not only his mother, but that of all the people on this earth. This is what grandpa and Kukubo said. Javria looks like nature and she is nature herself. The maker of this world, our Saviour, if he is grand and omnipotent will not allow the killing of this bear. Baido will be left disappointed. God will take the straw coloured bear with his strong, muscled right hand and turn her into the constellation. He took Dali to heaven as well."

"You want to do something that shows some type individuality and talent and imagination ¿ at the same time, you want to be truthful to the predecessors, because obviously the audience liked something about them and you have to replicate that experience to a certain extent. Not to just go ahead and make something that¿s completely different and ruin a franchise. At the same time, you don't want to be embarrassed in front of your peers and look like you¿re just copying something, and there's nothing individual. It's a very tricky balance. There are pressures, because you¿re going to be compared to the predecessors."

"When a lady chooses to change her mind, a gentleman would consider it no more than her privilege, and not badger her about it. (The Land of Green Ginger, 1937)"

"To learn the age-old lesson day by day: It is not in the bright arrival planned, But in the dreams men dream along the way, They find the Golden Road to Samarkand."

"I must emphasise that at private soldier level you frequently have no idea where you are, or precisely how you got there, let alone why."

"...a reluctance to recognise that today's safety and comfort were bought fifty years ago by means which today's intelligentsia find unacceptable, and from which they wish to distance themselves."

"You cannot, you must not, judge the past by the present; you must try to see it in its own terms and values, if you are to have any inkling of it. You may not like what you see, but do not on that account fall into the error of trying to adjust it to suit your own vision of what it ought to have been."

"...the standard arm was the most beautiful firearm ever invented, the famous short Lee Enfield.......She's a museum piece now, but I still see her on T.V. newsreels, in the hands of hairy, outlandish men like the Mujahedeen of Afghanistan and capable-looking gentry in North Africa, and I have a feeling that she will be loosing off her ten rounds rapid when the Kalashnikovs and Armalites are forgotten. That's the old reactionary talking: no doubt Agincourt die-hards said the same of the long bow."

"...only those who have been really dry know that there is no drink like chaggle water, brackish, chlorinated, with a fine earthy silt at the bottom, pure Gunga Din juice. We hated it and would have sold our souls for it."

"Another discovery was that the size and importance of an action is no yardstick of its personal unpleasantness. A big operation which commands headlines may be a dawdle for some of those involved, while the little forgotten patrol is a real horror."

"Certainly no general [Slim] ever did more with less; in every way, he was one of the great captains."

"Brewing up is not merely a matter of infusing tea; making the fire comes into it, and when you have lit and maintained fires in the monsoon, you have nothing more to learn. That came later; at Meiktila it was a simple business of assembling bamboo slivers, igniting them (no small thing, with Indian “Lion” matches which invariably broke and sprayed the striker with flaming phosphorus), and bringing about a gallon of water to the boil in the section brew-tin. This was a jealously-guarded article, about a foot cubed, made by cutting a compo ration tin in two and piercing the rim for a handle of signal wire. The casting in of the tea leaves from the section box was the crucial thing, followed by the ceremonial dropping in of two broken matchsticks to attract stray leaves; remove the tin from the heat, invite the guests to scoop out the brew with their piallas [“mugs” in Urdu], and tea was served, each man adding sugar and condensed milk to taste."

"There are few sounds as menacing as a bayonet being fixed."

"[Regarding the 'Advance to Contact'] The simple truth about war is that if you are on the attack, you can't do a damned thing until you find your enemy, and the only way to do that is to push on, at whatever speed seems prudent, until you see or hear him, or he makes his presence known by letting fly at you."

"Putting a grenade into a bunker had the satisfaction of doing grievous bodily harm to an enemy for whom I felt real hatred, and still do."

"Not that lance-jack lance-corporal] is any great eminence; it is an appointment, not a rank, and is the worst dogs-body's job in the Army, as Hitler and I could tell you."

"No one underestimated Jap: he might be a subhuman creature who tortured and starved prisoners of war to death, raped women captives, and used civilians for bayonet practice, but there was no braver soldier in the whole history of war, and if he fought to a finish..."

"We all have kindly impulses, fostered by two thousand years of Christian teaching, gentle Jesus, and love thy neighbour, but we have the killer instinct, too, the murderous impulse of the hunter..."

"No doubt newspaper reports and broadcasts had encouraged us, civilian and military, to regard him [the Japanese] as an evil, misshapen, buck-toothed barbarian who looked and behaved like something sub-Stone Age; the experiences of Allied prisoners of war demonstrated that the reports had not lied and reinforced the view that the only good Jap was a dead one."

"A Gurkha subaltern whom I met later told me that commanding a platoon of them was like leading a group of perfectly-disciplined ten-year-olds, and I believed him."

"...armchair strategists can look at the last stages of a campaign and say there's nothing left but mopping-up, but if you're holding the mop it's different. The last Jap in the last bunker on the last day can be just as fatal to you personally as the biggest battle at the height of the campaign, and you don't look or think much beyond him - wherever he is."

"Only very young soldiers and head-cases object to boredom in war-time."

"[Re the Piat anti-tank weapon] Like many British inventions, it looked improbable, unwieldy, and unsafe - and it worked."

"Gravity, muzzle velocity, density, intensity, one for his nob, and bullshit baffles brains! There - into the breach, old Whatsit, and if all else fails we'll fix a bayonet on the bloody thing and charge! Fire at Will, he's hiding in the cellar, the cowardly sod!"

"Certainly we tend to be resistant to change, on the whole, but that is because we have learned the hard way that change for its own sake is not a good idea, and that if something works more or less satisfactorily, it is best not to alter it without long and careful thought."

"But not half as angry, I dare swear, as our forefathers would be if they could see the betrayal, by worthless politicians, of the country they worked so hard to build, and the surrender of the precious freedoms won by better men at Gravelines and Trafalgar and Waterloo and Flanders and Alamein and in the skies above Kent."

"One way or another, the question whether Britain remains a free nation or becomes the vassal of a totalitarian Europe will be settled soon, and those who oppose our further integration would do well to remember, and proclaim as widely and as loudly as possible, the unashamed dishonesty that has characterised the pro-European movement from the beginning. Not since Lenin and Hitler cast their obscene spells has there been a political campaign so blatantly deceitful. In 1972 we were assured it was merely a Common Market, and that no political union could be envisaged: it is now shamelessly admitted that this was untrue, that political union was the aim from the start."

"What matters above all is sovereignty, the right to make our own laws......the right to remain independent of the unworthy, undemocratic, unprincipled, authoritarian, bureaucratic rabble of Brussels."

"First, I hope to see the British public resist the propaganda onslaught of the pro-Europeans, in which the broadcast media, led by the BBC, have shown themselves willing tools of the government, and vote a resounding "no" in the referendum, if and when it comes."

"I never said, and don't believe, that all Germans are Nazis. I'm just pretty sure that they're all Germans, and that is the point."

"Does he A N Wilson] really believe that there is no nostalgia for the triumphant days of the Third Reich among that proud and valorous race, or that they have forgiven and forgotten that in two great wars the English-speaking people beat the hell out of them, humiliated them, conquered them?"

"For some reason which escapes me, there seems to be a feeling now that we have a moral duty to interfere in foreign disputes, and tell other countries how they should govern themselves, especially if so-called democracy is thought to be in danger."

"That political correctness should have become acceptable in Britain is a glaring symptom of the country's decline."

"...the leaders of an independent Scotland will be only too happy to trade away that independence in return for admission to the fleshpots of Brussels for themselves and their families, goes without saying; they have the example of Westminster to copy."

"Few things infuriate the ordinary citizen more than liberal attitudes to crime and criminals. And not only infuriate, but offend against justice, common sense, and fair play. The ordinary citizen is neither a brute nor a sadist; he is humane (as most liberals are not), he is compassionate when it is called for, leans over backwards to be fair, and is ready to give a second chance. But he knows the difference between right and wrong, and has an instinctive sense of the difference between right and mere legality. He believes that wrongdoing should be punished with appropriate degrees of severity; deep in his understanding lies a feeling that eye for eye and tooth for tooth is not without merit, and that the punishment should fit the crime."

"The stark truth, of course, is that they have not abolished the death penalty at all. They have merely transferred it from the guilty to the innocent - and incidentally ensured that many more violent deaths occur."

"...after careful observation of our own children and their playmates at the toddler stage, that you will see in the nursery every crime in the book except sexual assault: GBH, attempted murder, theft, blackmail, extortion, lying, fraud, false pretence, menacing, putting in fear, robbery with violence, conspiracy, mayhem - the whole Newgate Calendar is on show, and if sex and high treason are exceptions it is only because the little blighters haven't got round to them yet."

"Whoever said that Russia was an enigma inside a something-or-other inside something else, was dead right. I don't understand the place yet."

"They [women] cannot march as far or as fast as men, or endure the front-line ordeal as well, or drive a bayonet into an enemy with the same force, or tackle bare-handed an opponent far more muscular and brutal than they are. Some may be trained to shoot well, but whether they will do so in action with male callousness (and eagerness) is doubtful. Courage doesn't come into it. Women are if anything braver than men, but the notion of a female teenager fighting hand-to-hand with a Panzer Grenadier or a Japanese White Tiger - or a Royal Marine - is ludicrous."

"War is men killing each other, often at close quarters, and doing their damnedest to stay alive. And until you have done that, against a capable enemy, you don't have any idea of what it's like, honestly. Mr Spielberg may splash the screen with gore, and publicists may declare: "You are there!", but you're not. You're snug in a cinema watching a load of crap performed by actors. Hand-to-hand fighting is different, and it's no place for a woman. (It's no place for anyone, including me, but for a woman least of all.)"

"...and I haven't got to the bloody Japanese yet, with their poisoned stakes and booby traps and nasty habit of using prisoners for bayonet practice and no-surrender valour and fighting ability to match our own...almost."

"It is a habit of great countries of imperial pretensions to take the future for granted, as the Romans did in Trajan's day, and as Britons, with a few far-sighted exceptions, did at Victoria's jubilees, and Americans do now."

"He [Anthony Crosland] and his Socialist fellow-theoreticians did a terrific job in degrading scholastic standards in the name of equality, which meant dragging down the good to the level of the mediocre."

"[re Princess Diana's death] I wondered at the time, what had happened to the moral fibre of the island race - the stiff upper lip, if you like - to make them behave like professional mourners howling for hire. The Prime Minister was proud. I was ashamed."

"But with today's mammoth papers the poor boobs have to write at ten times the length their subject is worth, and apart from over-padded news we have the curse of modern journalism, the proliferation of the commentary, the background exposition, the in-depth analysis, the "think-piece", all adding up to an indigestible stream of crap which no one wants to read, and no one, to judge by the mechanical repetition and weary rambling, wants to write either."

"I sat through the first act and heard my lovely lines falling like cold porridge on a damp mattress."

"The agarwood gave off its perfume, and the vine oil clouded over, invaded by the ghosts of other lives, from the time when it was just a dry seed under heaps of limestone. The knife, the same knife that I had gripped in my hands without feeling its hidden power, that had sent Dubois to Marseille, sparked by the unseen veins that still bound it to Chelyabinsk, had begun to do its work."

"The Book of Perilous Dishes"

"And I understood that not only was I fated to see them again, searching for each other with the same looks which clearly showed that love’s fiery sphere had started to grow between them, but there was also something else, meant only for me. Without wanting to, I had entered the realm of shadows, where you cannot be seen. They were the only ones that could be seen, while I, until then at the centre of the story, was now drifting through the treacherous fog of strange desires, like a poor fly blown about in the wind."

"The love is happiness to be only a rotting cloth in the wound of a stranger."

"The freedom is a tear digging into the flesh."

"Generous people are praised in books, but in everyday life they have nothing to show for it. The more grasping a person is, the wider doors open for them. No one loves the generous! They are admired for their praiseworthy deeds, and if they give you something, you accept it gratefully. But that’s as far as it goes. You don’t waste your time with a giver. You don’t go for a drink with them. You don’t make a philosophy of their gesture. And you don’t include them in your list of friends. Such a person is only good as a guarantor—the one who’s ready to stump up."

"For in any person there is a ball of bitterness and desire, sometimes just lightly tickling like a butterfly, but in many other cases utterly unbearable, like hot coals that scorch everything around them."

"Once he had turned the steak onto the other side, the madness began, as in a soul in love. Everything that followed after that, the salads, garnishes, and other accompaniments to the steak, was turned into the love letters, bouquets of flowers, and serenades by which men signal their desires and transmit news about the flow of their blood."

"Last year, sometime in November, I noticed a book in the window of the Sadoveanu"

"At last, she can sit down with the same emotion and anticipation felt before each meeting. The bed squeaks, recognizes her, and is happy to touch her. It is the only one that truly knows her, that deciphers the volutes of her brain and understands the delicate movements of the tiny creatures hidden in her capillaries. It took her 62 days to get here, to slide her fingers along its wooden surface, 62 suffocating days, the memories of which, although will fade, will leave toxins behind."

"I'm an artist…and I'm part of every decision in a movie. This is not how they work in Hollywood. There, the director is part of the crew, not the main creator. I'm too old to change now. I wouldn't know how to do it."

"I make fiction films because I like representation. That’s why I don’t make documentaries, and I don’t think I’ll ever make documentaries. The colors of my movies are not completely real, because I like that distance, that this is a movie, and reality is over there. I don’t want to make something that looks completely real. I want a representation of that. And this is what was appealing to me and why I started making movies."

"Whenever I've shot my previous films, I've felt phantoms of my own cinema past and personal past hovering over me. They accompanied me through those films. But this time I felt completely on my own. For the first time this film did not go hand-in-hand with my memories. The tone is different as well. It's very austere."

"I rely on it, it’s an addiction, the need to tell stories. If anything, my relationship with film has become more tense, more of a problem, because there is always that question: when will my time be up? Will this be the last film I make?...Perhaps this is the reason I haven’t developed any other facets of my life. Quite the opposite, I think I’ve cut back. So I’ve now reached the point where film is the only thing that makes me feel whole. Cinema is the only thing I have. It’s finished up being both the end and the means for me."

"In fact I was never the son my parents wanted. I mean, I think that they really loved me. But it’s something I realised from a very young age."

"I've had a very good relationship with my mother, but there's a whole generation of Spanish women who have struggled: very strong fighting figures who carry their families. These women are now in their 80s and feel that life has been unfair to them; they don't know how to grow old and how to be happy old ladies."

"But it’s one of my worries, I can’t get over it in my mind. I mean, I can’t even reconcile myself to the fact that death is real. Plus I’m an atheist, so I have no belief in the afterlife and no creed to help me out. I see the whole thing as unnatural, I know that sounds odd.” He snorts. “So yes, I’m definitely afraid of dying."

"For me today, the most important filmmaker alive, for me personally is Pedro Almodóvar. Because he takes people on the fringes of society and they are bizarre. And If you read about them in the newspapers, you would think they were criminals. But in an Almodóvar film, you forgive them and you even learn to love them, which I think is closer to godliness, than making a film about good people running around."

"As a very young girl, I understood that the interior activities of the home are as significant as the exterior activities of society."

"Tradition is an element that enters into play with destiny, because you are born into a particular family -- Jewish or Islamic or Christian or Mexican -- and your family determines to some extent what you are expected to become. And society is always there attempting to determine the role we will play within it. And these expectations are not always in good relationship with our personal desires. I am always interested in that relationship between outer reality and inner desire, and I think it is important to pay attention to the inner voice, because it is the only way to discover your mission in life, and the only way to develop the strength to break with whatever familial or cultural norms are preventing you from fulfilling your destiny."

"I grew up in a modern home, but my grandmother lived across the street in an old house that was built when churches were illegal in Mexico…She had a chapel in the home, right between the kitchen and dining room. The smell of nuts and chilies and garlic got all mixed up with the smells from the chapel, my grandmother's carnations, the liniments and healing herbs."

"The only way to find peace is when you are not separated, when you are not fighting, when you part of the whole."

"As a teacher I realize that what one learns in school doesn't serve for very much at all, that the only thing one can really learn is self understanding and this is something that can't be taught. The law of love is what one really should be learning in school, and what I want to communicate to people is that they should disobey the social rules that do not pertain to them, they should rebel against what is not personally true."

"In my life there are many silences…In my writing, too."

"Nothing can last forever; there is no memory, however intense, that does not fade."

"It is a difficult thing to grow up knowing that the thing where we can hold on to take root is dead."

"’I will get to the idea that I dreamed you,’ he said. Because the truth is that I've known you for a long time, but I like you more when I dream of you. Then I make of you what I want. Not like now that, as you see, we have not been able to do anything."

"Learn this, son: in the new nest you have to leave an egg. When I aged you, you will learn to live, you will know that the children are leaving you, that they do not thank you for anything; They eat until your memory."

"The living are those who are a shame. Don't you think so? The dead do not give war to anyone; but what is alive, they do not find how to mortify the lives of others. If they even kill each other to end the hearts of others. With that I tell you everything. On the other hand, we must not hate the dead. They are the great thing. Are good. The best beings on earth."

"I owe a special debt to Juan Rulfo, the Mexican writer who gave voice to the blood-soaked earth of the Mexican Revolution and a people who endure."

"I belong to the first generation of Latin American writers brought up reading other Latin American writers. Before my time the work of Latin American writers was not well distributed, even on our continent. In Chile it was very hard to read other writers from Latin America. My greatest influences have been all the great writers of the Latin American Boom in literature: García Márquez, Vargas Llosa, Cortázar, Borges, Paz, Rulfo, Amado, etc."

"Among the Mexican writers I prefer Juan Rulfo for the wonderful mystery and magic of his writings, all those disembodied voices."

"A whole generation of the Chicano writers were influenced by the Latin American male boom because that's all we got. Borges was an influence, but the ones I really stay with are Manuel Puig and Juan Rulfo. Rulfo obviously for his rhythms and what he's doing with voices."

"The dictionary doesn’t have individual contributions. It’s like building a cathedral. The workers are unknown. But one of the things I tend to do is suggest that it might be interesting to have examples of things that aren’t from France. If it’s a wind, which we worked on recently, does it always have to be the mistral? What about the winds of elsewhere? How about zephyrs or siroccos? In French, there exists an enormous variety of classifications, proverbs, and witticisms about winds. There are winds that push ships as well as winds that come from the gut—the noisy, bodily winds of Rabelais. All shadings have to be in the dictionary."

"How I began to write is different than how I became a writer. They are two different things. Many people write but they do not become writers. To become a writer is a job. It involves planning and it affects all parts of your life. Even what you eat—being a writer means not eating food with too much rich sauce to avoid taking a long afternoon nap! It’s like being a professional athlete. And a writer must choose between being a sprinter who writes a book, and being a writer who creates an oeuvre. If you want to create an oeuvre, you have to be careful not to put all your energy into the first book. You have to have a vision for the long term..."

"They were human beings who had a life, who had a lineage, who had parents, who had children, who had lives. They were not poor or rich. They were people and these people had humanity. So it was important that someone who knew them write about the event…"

"It's not often you see your city falling down in front of your eyes. People are screaming in pain all around you. Children are running in the streets. Some people start talking about the end of the world. But writing, for me, was as important as taking care of the injured."

"Devo al film della Wertmuller "Mimì metallurgico ferito nell'onore" il successo di un personaggio che è piaciuto molto all'estero e con il quale sono stato a lungo identificato con grande piacere."

"Pasqualino Settebellezze era un film che non voleva far nessuno, perché parla di un campo di concentramento. È una storia vera. Sono riuscito a convincere Lina [Wertmüller] a farlo e ha avuto quattro candidature all'Oscar."

"I wanted the two [lead] roles, of Mimi and Fiore, to be played by Giancarlo Giannini and Mariangela Melato. Both were already well-respected actors but had not yet played lead roles in movies. At the beginning, the producers were hesitant and had to take a gamble on these two talents. In the end, everyone was convinced of how good they were, and we formed a beautiful team."

"As far as I can remember, I’ve always thought in pictures and had a vivid imagination. In my animated films the design of every frame is of great importance, as if it would be a painting. Most of the time, and particularly in a mythical, fabulous context, my human characters, even lead characters, are only a minor part of the whole image. To try to express realistic human behavior in animation has limitations. Such attempts in serious animation are often absurdly ridiculous. Why would one imitate reality? Just leave it to living actors! Earthbound reality is not for animation. Animation is a stylized, fantastic world."

"Of course our society in general always presents us with different challenges, and it’s easier to be not who we are but to go on the level, to go down to the level which is less human, it’s more difficult to be humans than not to be humans."

"I think faith is important, it’s like a certain spine that you have. … It allows you to see things in a different light. To be calmer in certain situations, to be stronger in other situations, to be able to not always judge other people, to look first at yourself. And I think it’s an important inspiration for my creative work."

"Nothing much will change under Biden because his thing is: let’s return America to what it was. Well, what America was caused Trump. The Democrats rolled out the red carpet."

"When I found out that the Pentagon has a film department, a lot of things made sense to me. America reveals itself to the world through film. We absorb the American dream because they own the means of production... Reagan and Bush essentially appealed to American cinema mythology; the good guys out on their farms in cowboy hats. America is Gary Cooper. The terrorists are the Indians on horseback. Trump appeals as much to our cinematic language as to our politics: he works through the old reliables of fear and lies."

"We now prefer the fantasy…We find comfort in the lies. I was the victim of that for so long. I imbibed everything. It led to a place where I became extremely unhappy. And now I question everything. I believe it’s a responsibility to do it."

"The priest’s breath was sour and hot as he moved towards me…Then there was blackness...I remembered every single moment up to a point…Then it’s concreted over. What’s buried there? Is it something worth exhuming?..Yes. Maybe if I say it, it will lose its power over me."

"There’s a kind of an unspoken acceptance of the idea that sex against girls is kind of the real assault. The violation of women is what you should pay attention to. There’s a shame about men speaking out. A sense that if you were abused, it was your own fault. Men are not supposed to talk about their feelings. Men have to be strong and men don’t cry."

"It still makes me angry. The church still controls education in Ireland. And it’s an obscenity to tell innocent children they’re going to go to hell for taking sixpence out of their mother’s purse…[in America] It’s regarded as important not to put money into it, because if you put money into it, you start people thinking, and then they start to question the system and that’s dangerous…I want to go on that journey with my child trying to expand their vision of the world. I’m not going to leave it to them to take over her brain."

"Directing TV series was an instructive experience for me at first, but it became a destructive one after a while. Today, good writers prefer working in TV rather than movies, so you’ll find better and sharper writing there. But most series are conventional: the storytelling has to be efficient, and the dramaturgy is always the same—the end of the last act is intended to hook you into watching the next episode. And for me, [directing series] means losing the innocence you need to make films, a process in which you don’t know what tools you may discover along the way to move the story forward."

"Alone; it was the one active passion I had left now, the only real obsession. I had acquired, I hoped, with the passage of the years, the bad years, a measure of patience, and I thought of myself as being somewhat tight-mouthed, and even persevering, virtues I had always so conspicuously lacked, and I thought the time was at last gone when I had exhausted myself with futile rebellions. The rebellions seemed now, from this cool distance, this slight eminence I had achieved, silly and wasteful, and it was cunning that now struck me as the valuable quality to have, the distinctive characteristic. There had been so much blind impetuosity in the past; there had been so many indiscriminate wounds inflicted; I had lacerated myself as well as others so unhappily so many times. Now I fought, or it seemed to me I was fighting, a much sounder although a much more limited and more circumspect war: it consisted mostly of careful withdrawals, of very conscious retreats."

"There was a noisy rush of water from the bathroom, and she appeared, ready for the evening, a smile she had chosen, I thought, from a small collection of smiles she kept for occasions like this, fixed upon her face."

"Did she know what it was for a man to come to that point in his life when he found it impossible to touch the body of his own wife? To look at it; and to feel nothing. Not to desire it, at all, when the flesh was inert and dead and meaningless? To have the act of love become (with one's own wife) the most meaningless of all acts?"

"I didn't, I thought, really like her, for really she wasn't the sort of girl to whom I was usually attracted. I'd always thought that the girls who appealed to me most were the rather energetic, rather vigorous, rather healthy girls I saw on the tennis courts or on the beach. The girls who swam well, and whose skins were beautifully tanned, and who had broad shoulders. The girls who looked well in white. The girls with clear, straightforward eyes. The girls who laughed a great deal. I'd always thought I preferred a girl like that, and it was only an unfortunate set of circumstances which prevented me from meeting one."

"The funny side is repressed inside myself somehow, but it was always there. I think it's from my mother's side, she was always funny and making jokes, so I didn't suffer at all! When I get together with Bud, something just clicks and we are funny."

"I always say that a man with one language is like a man with one eye."

"They are angry men with vision, Brother, and by God their anger is justified. Ireland has not much longer to suffer. Her misery will soon be over and we'll be a united country again." "Yes," said Brother Sebastian, "but I don't like their methods." "Nor do I, Brother. Nor do I. But do you like the methods of the British Government any better?"

"There's not much money - if that's what you mean." "Approximately." "Once all the debts are paid there will be very little." "Nevertheless. Every little helps. The Brothers are sorely in need of it this weather."

"What we run here, Brother, is a finishing school for the sons of the Idle Poor." "It finishes them all right."

""Bitter?" said the barmaid and he nodded. What a strange thing to call a drink. Bitter. Aloes. Sorrow. For something that was supposed to make you feel happy."

"It's a bad day when the biggest thing you catch is a seagull."

"Michael wondered why it was the tragic things that remained with him most vividly."

"When they had come recruiting to his school - 'for fishers of men' - all those years ago and had offered the glittering lures of sanctity and safety, Michael had jumped selflessly. It was a long time before the line pulled taut and he felt the pain of the hooks within him and the irony of the fisherman caught."

"He no longer believed in any of it. Faith was a bit like luck. Spiritual luck. By the end of his novitiate it had begun to drain away. He struggled and prayed to retain it but each morning that he awoke he realized that he had less of it. He had sprung a leak and he didn't know where to mend it. Nevertheless he took his final vows. He did not know what else he could do. To back out at that stage would have killed his father. He was convinced of it. Once he had discussed the problem with his Novice Master but he had averted his face and told him to pray. After this his prayers carried an extra phrase - if You exist. God, if You exist, help me. But this compromise eventually gave way to not praying at all. He felt totally trapped. [...] It was funny in a way that it was his love for his father and a desire not to hurt him that kept him for so long in the Brothers. But when his father died everything changed."

"A bird's-eye view does not see the truth."

"If you have a war on your hands you send for the Mr Crillys of this world. The hard men and the bandits are the real revolutionaries, if you see what I mean. They get things done, they punch the hole for us to get through later."

"Suddenly a police Land Rover with its hee-haw siren blaring swung into the main road behind them with a squeal of tyres. It roared along and overtook them so fast its body tilted at an angle to the chassis. Someone said, "Jesus, they'll sell no ice cream going at that speed.""

"Do you still want to - refuse to help?" "I'm afraid so." "Not to act - you know - is to act. By not doing anything you are helping to keep the Brits here."

""Once you've been through a tragedy you're scared of it ever after," Mrs Morton said."

"He put his feet up on the mantelpiece and leaned back in the chair. He thought about how things happened to him but he brought nothing about. What he needed was self-discipline. His mother had ruled her own life with a hand of iron. She did everything she should do, getting up at seven and walking a mile to mass every day no matter what the weather; if she wanted one thing badly she did without others; if what she wanted was spiritual she denied her body. In Lent she took black tea and weighed her morsels of food on scales and for six weeks wouldn't let a sweet cross her lips although she loved them. She sent money abroad to her working sisters while at night she sat with a wooden mushroom darning her stockings with a criss-cross brown thread. She worked so her family would not want and Cal had never wanted while she was alive. He got a sense of a new life, a new start now that he had officially moved into the cottage. He would discipline himself. He felt a surge of his own power to direct his life into whatever path he wanted. There were six cigarettes left in his packet and he lit one and smoked it with a decadent pleasure, knowing it to be his last. The rest he threw into the fire."

"We went on a school trip down the Rhine one summer and I saw a crucifixion that made all others pale for me. It was a painting. And it was the first thing like that which had any effect on me. I stood and stared at it for so long the teachers lost me and had to come back for me."

"What about you?" "I would like to see a united Ireland, but I haven't decided the best way to go about it yet." "I feel sorry for it." "What?" "Ireland. It's like a child. It's only concerned with the past and the present. The future has ceased to exist for it."

"Violence is a bit like antibodies. Small doses build up until you can reject and be immune to the most horrific events."

"Love is a very strange idea. I never know what it is. When you were young it seemed to be all intensity and no opportunity. Later when you did get the opportunity the fire had gone out of it."

"Cal, the world is full of gulpins who don't care who they hurt."

"It was a way of not thinking - to concentrate on her surroundings. If she stared at things, then it helped block out stuff."

"Purring was the funniest thing, like a motorbike in the distance."

""The individual matters," said Mrs Gallagher."

"Are you a conduit for the music?"

"On a slippery slope the only way was down."

"An earthquake in one department created tidal waves in others."

"Steady as a three-legged stool."

"Sometimes I have difficulty with the avant-garde. There's a gallery in London I've been to and it's difficult to tell what's going on. A bag of nails, a ladder, a hammer - a crisp bag in the corner. Is it an exhibition or are they preparing an exhibition? Is the artist asking me to pay attention to something trivial or important?"

"She smiled to prove everything was all right. It was an odd device, this rearrangement of muscles of the face which said everything is all right. No need to enquire within. It could be used as a barrier to fend off emotional intruders."

"In a Portstewart guest house her father liked to play tricks when he had eaten his egg. He would put the shell upside down in someone else's eggcup. The McKennas would sit and watch the next person lift a spoon and cave in the top of the hollow egg."

"When she met men the first things she took account of were the negative things. Wimpishness, a bully, shiftiness, recklessness, elaborate facial hair."

"The island kids had TV, radio. Their remote surroundings were seen as a deprivation, not something to be enjoyed. They felt cut off from the mainstream. To be on an island was a source of discontent, not as good as the mainland."

"I wish I was artistic," said Liz, "then I could be temperamental."

"You sit down to your desk and listen to what's inside your head. Things appear suddenly and unexpectedly. I don't mean it's like inspiration or anything like that but, put it this way, you are there with a 3B pencil in your hand should you hear anything good. If you are in a notion of working, the idea takes root and won't let you go. It puts out twigs and branches. These twigs get leaves and thorns and maybe, if you are lucky, blossoms. And fruit. [...] The worst thing that can happen at a time like this is an interruption. When the interruption is over it's very hard to get the same momentum going again."

"How can something be utterly simple and amazingly complex at the same time? Things are simple or complex according to how much attention is paid to them."

"It's all going far too well," said Gerry. "A bad omen."

""Alcohol is the rubber tyres between me and the pier." He held up his glass to her. They chinked."

"She found a large and classy department store. Like any other city, Amsterdam was full of shops which sold things that nobody wanted. Or the kind of things some people wanted but nobody needed."

"Since Belfast, he always sat in a chair facing the door."

"Now that they had mobile phones, theoretically it should have been easier to keep tabs on one another. But practically it had not helped. In the first instance you had to remember to bring the bloody thing with you. If you had it with you, invariably one or other of the mobiles was switched off or needed charging. And then, even if you did get through, Stella's phone had some mysterious setting which diverted incoming calls straight to 'Leave a message'. And her phone did not ring. And she did not answer it."

"Look, see, behold. Above all, listen."

"He succeeded in persuading her back to look at The Jewish Bride. There was a crowd gathered around it. It was huge, big as a hoarding, a great slash of browns and yellows and reds. Two figures, a man and a woman on the edge of intimacy, or perhaps just after, about to coorie in to one another. Hands. Hands everywhere. A painting about touch. Stella joined the crowd and wormed her way to the front. Gerry watched her bite her lip as she gazed. She became aware of Gerry watching her. He excused himself and threaded his way to her side. "Well?" "There's a great tenderness in him," she said. "You can see he cherishes her." "Look at that big hand of his," Gerry said. "And the sleeve. Like a big croissant. The way he's put the paint on." "And the faces," she said. "But she's not so sure. Shy, yes. Sure, no. What sumptuous clothes." She pointed out the groom's hand around the woman's shoulder and his other hand resting on her breast. The bride's touch of the groom's hand."

"She rummaged in her bag and produced a postcard she'd bought in the museum shop. Old Woman Reading. It was not the painting she had seen but a different one. When she'd asked for the postcard the assistant had shrugged and said they were out of it. There are many old women reading, she said. The assistant had offered her another, even better, card. An old woman, cowled in some dark material, looking down at a book. It was so lovely - the concentration in the eyes, the luminescence of the ancient face reflected from the page, the interior light from reading whatever was printed there."

"When they finally got into the foyer there were some enlarged black and white photographs. Anne in her school playground before the war. Anne in the street with friends. Anne at a desk, writing."

"They crossed a metal suspension bridge over a canal. Both sides of the structure bristled with padlocks. Some of the brass locks had felt-tipped names written on them. 'Don + Gwen', 'Micky & Minnie', 'Leo n Leonora'. One had a message written on it. 'Graham and Vickey. I love you more than Coco Pops.' "It must be some kind of love fest," Gerry said. "Clamped for ever." "Have you seen this kinda thing before?" "I've heard of it." "It'll be the young ones." "Trendy ones.""

"A thing that really took his breath away was Norman Foster's roof over the Great Court at the British Museum - the audacity and brilliance of it. The approach inside the building from a periphery of darkness into the thrilling light at its centre - the largest covered square in Europe - was utterly wonderful."

"Stella was telling the clerk that there was a Catholic church in the heart of the red-light district called 'Our Dear Lord in the Attic'. "Would there be Mass there?" "No, I do not think so." The clerk shook his head. "It is now a museum." "All religion should be in museums," Gerry said."

"The coffee was good and the first sip made him want a cigarette. His hand went to his pocket before he realised it was decades since he'd had a smoke. The desire came out of nowhere. He thought how foolish, how stuck in routine the body becomes. Would the same thing happen if he tried to give up drinking?"

"On the wall above the sink was a board, with tools clipped to it. A hammer, screwdrivers - a pair of pliers, a hacksaw. And other stuff. Each item was outlined carefully in red paint. "I like your board arrangement," said Stella. "It's to remind me to put things back. If I don't, the empty ghost yells at me. So I put things back.""

"You know how vivid things are in extremis. There's something going on in the brain. Chemicals. They make the moment indelible.""

"Stella found herself isolating one particular snowflake - a small one - and watching its progress. Lifting, floating, eddying upwards, sinking among the others. Dithering. Then when it went off her radar she would choose another and watch it and will it to survive for as long as possible."

"What happened to you? You're nothing but appetite."

"He wanted to pray but couldn't because he no longer believed. Prayer was just an intense wishing."

"Believers. I mean, where have they all gone?"

"Gerry had once said to her in the middle of an argument that he didn't believe in souls but if, just perchance, they did exist, hers would be like a razor. She had been made that way by the Catholic Church, he said. Inflexible, narrow, capable of doing terrible damage by her adherence to rules and systems. But she totally objected. She told him that if she was a good person at all, it had come from her religion. If she had any sense of justice and fairness, any concept of equality, then it had come from the Church."

"When she emptied the kettle she always filled it for the benefit of the next person."

"There's nobody can fix this but yourself. You are the only one who can make the changes."

""Four pounds?" Still the woman hesitated. "Any less and it'd be a favour," he said. Already he was out of pocket. He stood up to end the bargaining."

"A summer insect flew into the metal dome of the Anglepoise and knocked around like a tiny knuckle."

"On the wall above the desk was an ikon he had bought in Thessaloníki - he afterwards discovered that he had paid too much for it. It had been hanging for some months before he noticed, his attention focused by a moment of rare idleness, that Christ had a woodworm hole in the pupil of his left eye. It was inconspicuous by its position, and rather than detracting from the impact, he felt the ikon was enhanced by the authenticity of this small defect."

"Sit down, son, don't loom."

"It concentrates the mind wonderfully knowing that this [life] is all we can expect."

"I come from the kind of house where if my father saw me with a book in my hand he'd say, "Can you not find something better to do?""

"Neil offered his arm as she lowered herself from the step to the ground. "What a polite young man." "That's my mother's fault.""

"It is disconcerting to find that an acquaintance considers you his best friend, his soul mate, but I could do nothing about it."

""But listen to this," Kathleen laughed and wheezed. "We had been talking about books. He tells me he reads a lot - as a matter of fact he's book mad - and when I came in with the tea I said 'Do you like Earl Grey?' and he says, 'I don't know. What did he write?' Isn't that marvellous?" Mary smiled and nodded while Kathleen giggled uncontrollably."

"He continued talking. "When you find out about real education you can never leave it alone. I don't mean A-levels and things like that - you are just proving something to yourself with them - but books, ideas, feelings. Everything to do with up here." He tapped his temple. "And here." He tapped the middle of his chest."

"INTERVIEWER: (After an awkward silence) And how do you see the future? PROFUNDO: I wait for it to come and then look at it (laughs)."

"You can't choose your children."

"There's not much you can do in this world without people getting to know."

"I was most influenced by Shinichi Sekizawa. He was a very good screenwriter. I prefer Mr. Sekizawa's style to Mr. Kimura's, but I don't think that Mr. Kimura's work is inferior. I am amazed by the number of screenplays Mr. Sekizawa wrote."

"Maybe just from life. It seems like there are no new stories in the world. Even though there are stories with something to say, and we have heard everything. But more than new stories - what kind of feeling could we get from them? If it could give you a different feeling, that's probably the kind of story I want to do, is how I feel."

"Sometimes in life, you have to run, sometimes you fall down, and sometimes you have to take a break, but it seems I have always focused on running."

"Directing takes more courage than acting."

"Big question! When my film was released in the autumn, there was a huge discourse regarding feminism in Korea, and thanks to that, there were a lot of discussions connecting my film and the issue of feminism; I felt really thankful about that. Now, the #MeToo movement in Korea… It means that many people in Korea are going through a hard time now, not just the victims and the offenders, but also people who were there when it happened. But, I think this is a time that we have to go through; of course, it is very painful, but we need to go through the pain in order to heal. Also, in the film industry, there are a lot of trials and movements to make the situation better. There are discussions about sexual equality not only in the film industry, but also in the world of theatre, and in other cultural professions. It’s very hard and painful right now, but it is a period of time that we need."

"I find that in every new film – whether in terms of becoming a new character or more generally the shooting or production – I’m rarely working with the same people or in the similar situations. Sometimes the director is someone I haven’t worked with before, or the actors are different and the stories we are telling are different, so overall every role is kind of challenging but attractive at the same time. There were some roles that I found either mentally or physically challenging but I would find it hard to pinpoint one specific role that I found more challenging than any other. I guess that understanding each character is the most challenging for me."

"There are actors who have a naturally cold aura. I don’t think I’m a big fan of that. You have to talk about people’s lives [in acting]. We probably don’t understand [others] 100 percent. It’s not possible. But I believe that the best method for acting is to love other people. ... I think there has to be warmth toward living beings"

"It’s hard for people to know themselves. It’s hard to know how you’re charming. When you’re young, even when people compliment you, it’s difficult to accept that."

"Right now, the industry might have gotten bigger. More people may be watching films. Those are positive aspects. But diversity in Korean cinema has decreased a lot since then. There are more female film students in schools."

"Sci-fi gives you the advantage of being able to say what you want pretty directly. Like, in Snowpiercer, that scene where Ed Harris has a long monologue in the engine car. Parasite has the landscape stone. The movie has symbols, but I wanted to focus more on the mundane atmosphere, on the stories of our neighbors."

"A lot of people say it’s a universal story because it’s about the gap between rich and poor, but I don’t think that’s all the answer. I think this film has done so well because it appeals in a very cinematic way, as a film in itself. I really want to take time to look back at what that cinematic appeal was."

"I grew up in a middle-class family. Even in terms of real estate, the house that I grew up in is in the middle – between the semi-basement home and the rich house you see in the film. I was really close with friends and relatives from both classes."

"My main job is not promoting a film, it’s writing scripts, and, of course, I’m doing that right now, in hotel rooms and on flights, but it hasn’t been easy. So there’s a duality with this entire process. Of course, it’s great and exciting, but I’m also desperate to return to my main job as soon as possible."

"I don’t think I’m pessimistic at every point, but I want to be honest in the face of the reality that stands in front of us. With Parasite, my thinking was that mankind’s achieved such great development — like the mobile devices we see in front of us but if we think about the past 30 years, has the gap between rich and poor dissipated? Not really. I have a son myself, do I think things are going to improve in his generation? I don’t really think that either. That is the source of a lot of fear, actually. So I wanted to be honest with that fear and sadness and really deliver that."

"This is something that applies to all countries, yes. Of course, there can be understanding and sympathy and communication between different classes, but I do think that it is very plausible things could turn out the way they do in the film. We are all aware of this gap between rich and poor and this is very sad and frightening, but what is fundamentally even more frightening is the fear I mentioned earlier, that this won’t be resolved in the future, in our children’s generation. That’s something we all feel, and it’s very hard to get rid of."

"Are they? As I am one of the filmmakers creating genre films and not a critic with a general overview of the trend or what is coming out, I’m glad to hear it. I am a huge fan of genre films and although I like to destroy or twist genre conventions, generally I operate within the boundaries of genre. There is a very specific kind of cinematic excitement that genre films can bring. And that is what I love about it as well, so I am glad to see it."

"Compared to Japanese or Hong Kong film, the history of Korean cinema is relatively lesser known to American and European audiences. I hope, due to the opportunities that have arisen from Parasite, people will realize that Korean cinema has also had a lot of masters"

"In this film, it’s very difficult to separate the good ones from the bad ones. Even the rich characters are not your conventional, typical, greedy villains that you see onscreen. I was sympathetic to everyone. I identified with every character, to some degree, but at the same time I also maintained a sense of distance from all of them as well."

"Even the characters I create, they aren't clear-cut supervillains or superheroes, they're all residing in the grey area. Maybe that's why a certain amount of optimism or pessimism mixes into my films. I do feel, however, that's more realistic and more reflective of how society is, and how life is. If everything is clear-cut and residing in one direction, it might feel a bit forced."

"Once you overcome the one-inch-tall barrier of subtitles, you will be introduced to so many more amazing films."

"Literature is different from cinema in that, when I’m writing it, I’m thinking of one reader who will go through a range of emotions with me, whereas with film I’m addressing a larger audience. For me, writing fiction is like writing love letters."

"To me it seems that films these days are becoming more and more simple, and the audience seems to desire simpler stories. Of course, films sort of shape the desires and the demands the audience makes, so I kind of wanted to go against this trend and see if a film can sort of throw endless questions at the audience. Endless questions about a larger mysterious world."

"To me, it seems that the world we live in continues to become more and more sophisticated, convenient and cool on the outside, but there are so many problems underneath that we can’t really discern — and that’s the nature of this post-modern world and its problems."

"To be honest, it’s very difficult to explain what stories I see fit to become a film or not. I have several people I regularly work with — producers, actors, crew members — and it’s always very difficult to explain why this story can or can’t be a film. It often puts me in trouble, as well. I can find it hard to explain myself. Whether the story is fun or moving or might receive good reviews is honestly not that important to me. It’s a very intuitive feeling that I have — mainly about whether the story is worth reaching out to the audience to communicate with them at this point in time. Is the story worth the effort of bringing it to the audience? It’s sort of a very sensitive and intuitive decision-making process that happens within me."

"When I used to write novels, I always wrote for one person, for this person who thought and felt the same way as I do. It almost felt like I was writing a love letter to this very specific person who would understand what I’m writing and share the same feelings and thoughts."

"Poems are about things and occurrences that we don’t see visually, it’s the needing of beauty and meaning, that’s what poetry can be. In a natural way there are many stories that interweave throughout the film, and the film’s big scene is not just about the tragic event, but it also meets with what poetry is about, they interweave together."

"It’s very different between writing a novel and making a film, in a novel you’re using language to bring a story to life, so through this you’re speaking of it. Film is not a medium that is carried through with language, but something else. A film can tell a story very strongly, and a film’s great asset is that it can depict characters very well. For the most part, telling a story from a novel is very strong, but I feel that films have more power to do that."

"I have to wonder how much obvious messages like ‘justice prevails’ would affect our lives, which leads me to make films that ask questions."

"I’ve never made films that delivers messages, nor have I ever felt the urge to make such pieces. I just like to ask questions."

"I’ve always wanted actors to simply and purely feel the emotions rather than feeling like they have to express them. During the film shoot, I tried to have as much conversation with them as I could about the characters and their circumstances. Having conversation was a more effective way of communication than simply giving directions, and I believe it allowed much more freedom for the actors."

"One of the ironies in social climbing is that if you are successful, your children will ultimately belong to a different class from yours. There is something sad in that this was your ambition, yet if you achieve it, you have in a sense alienated yourself from your own children."

"I usually start with an outline and the basic idea. But I keep the idea simple enough so that everyone on set can have it in their head. Everyone working on the film has to, as we say in Japanese, “put their antennas up,” and be aware of what is going on at all times, because at any given second we could be filming, we could be capturing a moment. Everyone on set has this understanding, and works toward this. The rough guidelines of the story, from point A to point B, are basically followed, but how you get there is a collaborative process. The audio guys on my films keep a wireless mike on me, because they never know when the camera is rolling! (laughs) Because they never know, they have to keep in close contact so that everyone’s on the same page. (discussing her creative process)"

"I didn’t come into filmmaking from, as you say, watching other films and then wanting to be a director. Fundamentally, it was my love of the medium of film as a tool to capture the moment, the moment that’s happening right now. When film was first invented, there was that excitement about its ability to capture a moment in time, the here and the now. And that’s really the starting point for my interest in the film medium."

"I don’t think being able to see is the only thing cinema can offer. Other than that, it’s a media that lets you feel. The world portrayed on screen is something that’s seen, but what you hear and how you feel comes from a 2D screen to the 3D world we really live in. Cinema reminds us of this fact because the visually impaired live in this big world that is cinema. They feel cinema as if they are lying in the cinema itself, so by having audio help there’s the possibly that they understand the film even more than those who do not. I was talking to the producers of audio guides and their love for cinema was very close to mine. These encounters instigated the making of this film. (about the portrayal of visually impaired people in Hikari (Radiance), and how or in what ways cinema can relate to them)"

"My early works were shot mostly in 16mm and on Super 8. The great thing about Super 8 is that it captures details so well. It can be very subtle in how it communicates them to the public. Digital video has it own benefits, but screening Super 8 films had to be done in a private room, with a projector. This was the only way to share my work with the audience, and it felt private and intimate, like a diary. It was an ideal format. And I don’t mean just for conveying the materiality of objects, but also capturing things you cannot see with a naked eye, the internality, feelings. Digital just feels to me a lot more objective. (experience and influence of filming across different formats on her work)"

"Nature is something that lies above humans. Us, humans, have ended up damaging nature and destroying ecosystems for our own comfort, and have thus managed to exhaust the very planet on which we live. I think that it’s time for us to realize how precious it is to have the gift of living on this beautiful planet. Even though my powers are limited, I wanted as many people as possible to know the beauty of this world through the images in my films, and to realize that it’s not eternal, and so, in my work, I always treat nature like another character in the film, to which I have always paid respect. (discussing nature's dominating role in her films)"

"I feel that copying western storytelling wouldn't help tell my story, to communicate who I am fully. You know maybe I've been influenced by these different cultures, but I wasn't taught filmmaking by anyone in particular, I wasn't told what sort of eye to have or how to see the world. I just on set cut out the sort of images and the moments that really touch me and share that, and that's what I do as a filmmaker and I think the world needs individuality, it needs uniqueness, but it's so it's important to be different from others and I think that's what it's all about. I think it's about enjoying life and showing what is different about how you see things through film and that's the most important thing that we can do through filmmaking."

"I really want the whole world, and Americans as well, not to get used to this war. Yes, it is far from you, it lasts long, and you can get tired of it, but please do not get used to it, because if everyone gets used to it, this war will never end. Don't get used to the pain. And when you start thinking that there may be some reason for this war, it means that you are in the zone of Russian propaganda. Be careful, hear the truth."

"What happened just over a week ago was impossible to believe. Our country was peaceful; our cities, towns, and villages were full of life. On February 24th, we all woke up to the announcement of a Russian invasion. Tanks crossed the Ukrainian border, planes entered our airspace, missile launchers surrounded our cities. Despite assurances from Kremlin-backed propaganda outlets, who call this a "special operation" - it is, in fact, the mass murder of Ukrainian civilians."

"Perhaps the most terrifying and devastating of this invasion are the child casualties. Eight-year-old Alice who died on the streets of Okhtyrka while her grandfather tried to protect her. Or Polina from Kyiv, who died in the shelling with her parents. 14-year-old Arseniy was hit in the head by wreckage, and could not be saved because an ambulance could not get to him on time because of intense fires. When Russia says that it is 'not waging war against civilians,' I call out the names of these murdered children first. Our women and children now live in bomb shelters and basements. You have most likely all seen these images from Kyiv and Kharkiv metro stations, where people lie on the floors with their children and pets – trapped beneath. These are just consequences of war for some, for Ukrainians it now a horrific reality. In some cities families cannot get out of the bomb shelters for several days in a row because of the indiscriminate and deliberate bombing and shelling of civilian infrastructure."

"This war is being waged against the civilian population, and not just through shelling. Some people require intensive care and continuous treatment, which they cannot receive now. How easy is it to inject insulin in the basement? Or to get asthma medication under heavy fire? Not to mention the thousands of cancer patients whose essential access to chemotherapy and radiation treatment have now been indefinitely delayed. Local communities on social media are full of despair. Many people, including the elderly, severely ill and those with disabilities, have been debilitatingly cut off, ending up far from their families and without any support. War against these innocent people is a double crime."

"Our roads are flooded with refugees. Look into the eyes of these tired women and children who carry with them the pain and heartache of leaving loved ones and life as they knew it behind. The men bringing them to the borders shedding tears to break apart their families, but bravely returning to fight for our freedom."

"The aggressor, Putin, thought that he would unleash blitzkrieg on Ukraine. But he underestimated our country, our people, and their patriotism. Ukrainians, regardless of political views, native language, beliefs, and nationalities, stand in unparalleled unity. While Kremlin propagandists bragged that Ukrainians would welcome them with flowers as saviors, they have been shunned with Molotov cocktails."

"I thank the citizens of the attacked cities, who have coordinated to help those in need. Those that keep working - in pharmacies, stores, public transportation, and social services – showing that in Ukraine, life wins. I acknowledge those that have provided humanitarian aid to our citizens and thank you for your continued support. And to our neighbors who have generously opened their borders to provide shelter for our women and children, thank you for keeping them safe, when the aggressor has rendered us unable to do so. To all the people around the world who are rallying to support Ukraine. We see you! We’re here watching and appreciate your support. Ukraine wants peace. But Ukraine will defend its borders. Defend its identity. These it will never yield."

"In cities where shelling persists, where people find themselves under debris, unable to get out of basements for days, we need safe corridors for humanitarian aid and evacuation of civilians to safety. We need those in power to close our sky!"

"I appeal to you, dear media: keep showing what is happening here and keep showing the truth. In the information war waged by the Russian Federation, every piece of evidence is crucial. And with this letter, I testify and tell the world: the war in Ukraine is not a war "somewhere out there." This is a war in Europe, close to the EU borders. Ukraine is stopping the force that may aggressively enter your cities tomorrow under the pretext of saving civilians. Last week to me and my people, this would have seemed like an exaggeration, but it is the reality we’re living in today. And we do not know how long it will last. If we don't stop Putin, who threatens to start a nuclear war, there will be no safe place in the world for any of us."

"Every Ukrainian is a target for Russians: Every woman, every child. Those who died the other day from a Russian missile [while] trying to evacuate from Kramatorsk were not members of the presidential family, they were just Ukrainians. So the number one target for the enemy is all of us."

"The main thing for Ukraine today is that the whole other world hears and sees us, and it is important that our war does not become "habitual," so that our victims do not become statistics. That's why I communicate with people through foreign media. Don't get used to our grief!"

"Ukrainians did not believe in war — we believed in civilized dialogue. But when the attack took place, we did not become a "frightened crowd," as the enemy had hoped. No. We became an organized community. At once, the political and other controversies that exist in every society disappeared. Everyone came together to protect their home. I see examples every day, and I never get tired of writing about it."

"I am grateful for the opportunity to be here and to address the Congress of the United States of America. I know this is the first time when the wife of the president of a foreign country has the honor to address you within these walls. This is really important for me and for my country. And today, I want to address you as politicians and party representatives as well as mothers and fathers — grandmothers and grandfathers, daughters and sons. I want to address you not as First Lady, but as a daughter and as a mother. No matter what positions and titles we reach in our lives, first of all, we always remain a part of our family. We always remain children to our parents. And no matter how old we are, they love us as their children. And we are always parents to our children. And no matter what happens to them, they will always remain our children. This is the great truth of our life. Our family represents the whole world for us. And we’d do everything to preserve it. And we are happy when we succeed in it, and we cry when we cannot save it. And we remain completely broken when our world is destroyed by a war. Tens of thousands of such worlds have been destroyed in Ukraine."

"This is Lisa. I met this girl before Christmas when we were preparing readings of Merry Christmas for children. I remember her just like she is here. A cheerful, playful, little rascal. The other video was made by Lisa’s mother, whose name is Irina, when she took her child to school, and she asked her, “Where are we going, sweetie?” The daughter calls the names of her favorite teacher. Lisa was only four years old. She’s no longer with us. Here is the stroller of Lisa. On July 14th, Lisa was killed by a Russian missile attack on our city of Vinica in the center of Ukraine. Twenty-five people killed, almost 200 injured. Lisa’s mother is in serious condition. And for several days, nobody dared to tell her that Lisa has died. This is where the words, where are we going, have been ringing in my ear for six days, ever since it happened."

"Usually the wives of presidents are exclusively engaged in peaceful affairs: education, human rights, equality, accessibility. And maybe you expected from me to speak on those topics. But how can I talk about them when an unprovoked, invasive terrorist war is being waged against my country. Russia is destroying our people."

"Since the beginning of the war, Russia has launched over 3,000 different cruise missiles on Ukraine, but to destroy somebody’s family, you don’t need a missile. Maybe shrapnel will do it."

"How many families like this may still be destroyed by the war? Those are Russia’s Hunger Games. Hunting for peaceful people in peaceful cities of Ukraine. They will never broadcast this on their news. That’s why I’m showing it to you here."

"Dear ladies and gentleman, the American people and the American families, the Congress and President Biden have already done a lot to help us to stand up to the enemy and protect millions of Ukrainians. We are grateful, really grateful that the United States stands with us in this fight for our shared values of human life and independence. You help us. And your help is very strong. While Russia kills, America saves. And you should know about it. We thank you for that. But, unfortunately, the war is not over. The terror continues. And I appeal to all of you on behalf of those who were killed, on behalf of those people who lost their arms and legs, on behalf of those who are still alive and well, and those who wait for their families to come back from the front. I’m asking for something, now I would never want to ask. I’m asking for weapons, weapons that would not be used to wage a war on somebody’s else’s land, but to protect one’s home in the right to wake up alive in that home, I’m asking for air defense systems in order for rockets not to kill children in their strollers, in order for rockets, not to destroy children’s rooms and kill entire families."

"We want no more airstrikes. No more missile strikes. Is this too much to ask for?"

"She expressed herself clearly, as only people who talk a lot to themselves can."

"Human beings worked constantly to make their gods unnecessary. He was an individual who made scientific measurements: one day time and perhaps also space would be measured and controlled by scales of measurements hitherto unknown. The supernatural was shadows dancing in the remains of a childhood fear of the dead."

"Averno was my homage to Mankell. I tried to use something from one of his books in every one of the poems. Nobody noticed it, which is good, but it was there for me."

"'Not that there was anything particularly wrong with Marxism as a concept,' McWhinnie grinned. 'It just didn’t work in practice. Much the same as you could say about Christianity; all right as a concept. I trust I don’t offend you,’ he tugged at his jacket-cuffs. 'Not in the slightest.’ McWhinnie looked disappointed."

"For him scholarship had been a refuge: he valued literature not as a reflection of reality, but as an escape route from it. … [In literature] nature was methodised, the poet was always a prince, and the scholar found himself elevated to an all-powerful magus reducing the randomness of events to a dream of traditional order."

"He had long ago abandoned the idea that there was any point in reading books. Perfectly uselessthat was their essential charm. He’d given up reading new books altogether. Someone, he couldn’t remember who, had recommended he read a novel by some Jewish chap. Turned out to be all about wanking. ‘Whacking-off’ he called it. Summed up modern literature perfectly."

"When you read a text, you’re on your own time. That is not the case in film. In fact, in film, you’re dominated by my time. But time is different for everyone. Five minutes isn’t the same thing for you as it is for me. And five minutes sometimes seems long, sometimes seems short. Take a specific film, say, D’Est: I imagine the way each viewer experiences time is different. And on my end, when I edit, the timing isn’t done just any way. I draw it out to the point where we have to cut. Or take another example, News from Home: How much time should we take to show this street so that what’s happening is something other than a mere piece of information? So that we can go from the concrete to the abstract and come back to the concrete—or move forward in another way. I’m the one who decides. At times I’ve shot things and I’ve said, "Now this is getting unbearable!" And I’ll cut. For News from Home it’s something else, but I have a hard time explaining it."

"Everyone thought, for example, that Jeanne Dielman was in real time, but the time was totally recomposed, to give the impression of real time. There I was with Delphine [Seyrig], and I told her, "When you put down the Wiener schnitzels like that, do it more slowly. When you take the sugar, move your arm forward more quickly." Only dealing with externals. When she asked why, I’d say, "Do it, and you’ll see why later." I didn’t want to manipulate her. I showed her afterward and said to her, "You see, I don’t want it to 'look real,' I don’t want it to look natural, but I want people to feel the time that it takes, which is not the time that it really takes." I only saw that after Delphine did it. I hadn’t thought of it before."

"[On directing Jeanne Dielman aged 25.] It’s not very modest of me, but I’m still so proud I did it at that age."

"A lot of it came unconsciously. [...] When I wrote it, it ran like a river."

"Delphine Seyrig complained that there was so much detail she didn’t have to invent anything."

"[On the isms ("feminism, minimalism, structuralism") present in analysis of Jeanne Dielman.] I don’t think it’s minimalist, [...] I think it’s maximalist. It’s big! And if I did the film now I don’t know that it would be called feminist. It could have been done about a man, too. All those labels are a bit annoying [...] To name something is a way to possess it. I think it makes the film smaller. And O.K., maybe they are right, but they are never right enough."

"[A male client of the lead character, a part-time prostitute, is stabbed with scissors near the end of the film.] In most movies you have crashes or accidents or things out of the ordinary, so the viewer is distracted from his own life. [...] This film is about his own life."

"Jeanne has to organize her life, to not have any space, any time, so she won’t be depressed or anxious [...] She didn’t want to have one free hour because she didn’t know how to fill that hour."

"It came from what I saw as a kid, all those gestures of my mother. [...] That’s why the film is so precise."

"I sometimes think I should have made it after many other films, at the end of my career. [...] I remember saying to myself, how can I make a better film? But it was also exactly the film I had to make then. It says something about a woman, about a way of living a life, about life after the war. It was the first thing I had to pour out of myself. [...] I would have changed nothing about it."

"For many reasons, I believe more in books than images. The image is an idol in an idolatrous world. In a book, there’s no idolatry, even if you can idolise the characters. I believe in the book; when you immerse yourself in a huge book, it’s like an event, an extraordinary one."

"Previously, I had felt a kind of energy in life, with moments of depression of course – but I read constantly, took notes, was curious about everything. Then it was gone … The breakdown knocked me out. Before, I walked barefoot in the street, I brought poor people home, I wanted to save the world. Imagine, I telephoned Amnesty International to try to get them to dig a hole to the other side of the earth, to Siberia, so they’d get out all the people imprisoned in the camps! I wanted them to have 10,000 Socialist Jews brought to Israel to change the government and make peace … But I wasn’t living there, and it’s for the Israelis to know what’s to be done. Not for us who live here, for the time being, securely. I want the days to end early. I go to bed at 5pm, at 8pm, with sleeping pills. Without complaining. That’s how it is. I cope with my illness. It’s an illness like any other."

"I think if I knew I was going to do this, I wouldn’t have dared to do it."

"Even if I have a home in Paris and sometimes in New York, whenever I was saying I have to go home, it was going to my mother. And there is 'no home' anymore, because she isn’t there, and when I came the last time, the home was empty."

"She never wanted to speak about Auschwitz. [...] I asked her once to tell me more, and she said, 'No, I will get crazy.' So we could speak around, or after, or before, but the real moment, never. Not directly."

"As I grow older, the need to train people increases people whom I can one day pass the baton. Let’s do this."

"I am interested in raising new talents and crew. Several of my movies star new actors in lead or supporting roles, and many of them have gone on to do very well in the industry. I believe in continuity, as such it’s important to me that I invest in people whom I can one day pass the baton."

"My problem is when I watch a Nigerian film trying to be like an American film and failing woefully at that."

"Days run out for me, life goes from bad to worse very soon, very much soon, times will lead to the end."

"If the sun must set for me, If all must come to an end, if you must be rid of me"

"...various kinds of fruit in various stages of decay... slices of stale, smelly bread and a few pieces of dusty chocolate."

"There was no policeman in sight they sprinted across the road and hopped into the largest of the supermarket dustbins. They snuggled close to each other for warmth and immediately fell asleep intoxicated by the foul smell of rotten vegetables"

"..was a little better in a few respects. It was relatively round less sooty and mysteriously, absolutely flea-free. Mice and bed bugs there were, but there were less famished and consequently less hostile...."

"Among the people, urging anyone with any information that might lead to the discovery of the cause of the fire to step forward."

"My mum and I fought a lot. She worried that my chosen career was unreliable and wouldn’t take me anywhere."

"The first time Lawrence invited me to set I got to work ten minutes late and he fired me."