A car crash harnesses elements of eroticism, aggression, desire, speed, drama, kinesthetic factors, the stylizing of motion, consumer goods, status - all these in one event. I myself see the car crash as a tremendous sexual event really: a liberation of human and machine libido (if there is such a thing).

A kind of banalization of celebrity has occurred: we are now offered an instant, ready-to-mix fame as nutritious as packet soup.

Maybe you are a poet and a dreamer, but don't you realize that those two species are extinct now?

E. Klimov's 'Come and See,' about partisans fighting the Germans in Byelorussia, is the greatest anti-war film ever made.

In his mind Vaughan saw the whole world dying in a simultaneous automobile disaster, millions of vehicles hurled together in a terminal congress of spurting loins and engine coolant.

There is a British pop group called God. At a recent book signing the lead singer introduced himself and gave me a cassette. I have heard the voice of God.

Films, like memories, seem to re-shoot themselves over the years, reflecting our latest needs and obsessions. In many cases they can change completely, and reveal unexpected depths and shallows. Will Four Weddings and a Funeral be seen one day as a vicious social satire? Could Jaws become as tearful and sentimental as Bambi?