I must have been 3 years old or less, and I remember paging through these comics, trying to figure out the stories. I couldn't read the words, so I made up my own stories. ↗
I have often said that just as the French revolution, for instance, understood itself through antiquity, I think our time can be understood through the French revolution. It is quite a natural process to use other times to understand your own time. ↗
I'm from the South, where if you walk down the street and there's somebody behind you talking with a Southern accent, you can't tell whether it's a black or a white person. ↗
In this room we're all here together, but there's probably a lot of different views, people sitting here thinking, I don't own any slaves, all the slaves are dead. Why am I responsible? My family were immigrants, too. ↗
Being chronically shy I needed to create a persona for myself and be involved with a band where I could be ruler of my own kingdom. Then Pulp became hugely popular and I lost control of it, which is when it all went wrong. ↗
The point at which we worked with some of these actors, they weren't really stars yet. Nicolas Cage was not a big star when we did Raising Arizona. A lot of these people were also virtually unknown, too, when we worked with them first. ↗
Commissions suit me. They set limits. Jean Marais dared me to write play in which he would not speak in the first act, would weep for joy in the second and in the last would fall backward down a flight of stairs. ↗
