I live in an apartment building built in 1925, and it hasn't been heavily renovated, so I feel very much connected to that time and what went on in that place.

There's a real connection between the history of print in Europe and nationalism, and how those two things could be formed. I think they may both now be ending, for good and bad, but I think mainly for good. Either globalism was supposed to make people all realize this is one big business going on and we should know what's going on everywhere, or it makes people say, "I don't want to become part of this thing. I want to be incredibly different from you and I want to uphold my local behavior." Dress a certain way.

The click [of a light switch] is the modern triumphal clarion proceeding us through life, announcing our entry into every lightless room.

I was born Moishe Ketzelbourd but the Indians call me Maurice Cougar.

A picture story just doesn't run like a film. It doesn't have 24 frames per second. It doesn't deal with this illusion of movement. It's more like if you did an illuminated novel. I think both of those things should be running at full blast, not less of both so it becomes an easier thing. I think it should be twice as dense. That's just what interests me.

You can have your own watch and always doubt it. If I had a watch I'd probably always be doubting it or the batteries would be dying. I just know that people always have trouble with their watches, and that's why I like public clocks.

I always lived in old buildings, and I thought about who lived here before. You'd have to be oblivious not to.