"the lesbian community is under siege, we always try to present to the heterosexual community the idealized version, but I do not think that's a good way to do it, even though I can understand where it's coming from. ("Valerie Miner talked about the kinds of self-censorship she finds in her work when she starts thinking she should present only positive images of lesbians or working-class people.") Yes. In that poem and also in the poem "Night Voice" I do that. There's this whole controversy now over media images of lesbians and gays and bisexuals. It's brought out in movies like Basic Instinct and Silence of the Lambs where they are presented as killers. It comes up in the novels of P. D. James, where she has these criminals who are lesbians or gay men. And I hate that. But, at the same time, I want the dirty laundry to be out there, whether it's on the Mexican culture or the lesbian culture or the bisexual. And I'm not sure how you do that."

"James Rebhorn - Dr. McElwaine"

"William Duff-Griffin - Docteur Myron"

"Bill Cable - Johnny Boz"

"Jack McGee - Sheriff"

"Benjamin Mouton - Harrigan"

"Daniel von Bargen - Lieutenant Marty Nilsen"

"Wayne Knight - John Correli"

"Dorothy Malone - Hazel Dobkins"

"Chelcie Ross - Captain Talcott"

"Bruce A. Young - Andrews"

"Leilani Sarelle - Roxanne "Roxy" Hardy"

"Denis Arndt - Lieutenant Phillip Walker"

"Jeanne Tripplehorn – Dr. Beth Garner"

"George Dzundza – Gus Moran"

"Sharon Stone – Catherine Tramell"

"Michael Douglas – Police Detective Nick "Shooter" Curran"

"Flesh seduces. Passion kills."

"A brutal murder. A brilliant killer. A cop who can't resist the danger."

"[To Nick] Well, she got that magna cum laude pussy on her that done fried up your brain!"

"[To Nick] Killing isn't like smoking. You can quit."

"[To Beth] My sex life is actually pretty shitty after I stopped seeing you. [He shows her his palm] I started developing callouses. I haven't had a drink in three months. I'm working my ass off. I'm off the sauce. I even stopped smoking. Now, will you tell I.A. I'm just your average, healthy, totally fucked up cop and let me out of here... please?"

"Tomorrow, we send him out with confidence into the world again, as decent a lad as you would meet on a May morning. What a change is here, ladies and gentlemen, from the wretched hoodlum the State committed to unprofitable punishment some two years ago. Unchanged after two years. Unchanged, do I say? - not quite. Prison taught him the false smile, the rubbed hand of hypocrisy, the fawning, greased obsequious leer. Other vices it taught him, as well as confirming in those he had long practiced before. Our party promised to restore law and order and to make the streets safe again for the ordinary peace-loving citizen. This pledge is now about to become a reality. Ladies and gentlemen, today is an historic moment. The problem of criminal violence is soon to be a thing of the past. But enough of words. Actions speak louder than. Action now. Observe all."

"The erotic decor in the film suggests a slightly futuristic period for the story. The assumption being that erotic art will eventually become popular art, and just as you now buy African wildlife paintings in Woolworth's, you may one day buy erotica. The violence in the story has to be given sufficient dramatic weight so that the moral dilemma it poses can be seen in the right context. It is absolutely essential that Alex is seen to be guilty of a terrible violence against society, so that when he is eventually transformed by the State into a harmless zombie you can reach a meaningful conclusion about the relative rights and wrongs. If we did not see Alex first as a brutal and merciless thug it would be too easy to agree that the State is involved in a worse evil in depriving him of his freedom to choose between good and evil. It must be clear that it is wrong to turn even unforgivably vicious criminals into vegetables, otherwise the story would fall into the same logical trap as did the old, anti-lynching Hollywood westerns which always nullified their theme by lynching an innocent person. Of course no one will disagree that you shouldn't lynch an innocent person—but will they agree that it's just as bad to lynch a guilty person, perhaps even someone guilty of a horrible crime? And so it is with conditioning Alex."

"The central idea of the film has to do with the question of free-will. Do we lose our humanity if we are deprived of the choice between good and evil? Do we become, as the title suggests, A Clockwork Orange? Recent experiments in conditioning and mind control on volunteer prisoners in America have taken this question out of the realm of science-fiction. At the same time, I think the dramatic impact of the film has principally to do with the extraordinary character of Alex, as conceived by Anthony Burgess in his brilliant and original novel. Aaron Stern, the former head of the MPAA rating board in America, who is also a practising psychiatrist, has suggested that Alex represents the unconscious: man in his natural state. After he is given the Ludovico 'cure' he has been 'civilized', and the sickness that follows may be viewed as the neurosis imposed by society."

"The breakthrough presentation of Stanley Kubrick's Clockwork Orange for the millions who were not allowed to see it until now!"