What is saved in the cinema when it achieves art is a spontaneous continuity with all mankind. It is not an art of the princes or the bourgeoisie. It is popular and vagrant. In the sky of the cinema people learn what they might have been and discover what belongs to them apart from their single lives.

It is not usually possible in a poem or a story to make the relationship between particular and universal fully explicit. Those who try to do so end up writing parables.

To be naked is to be oneself.

The collaboration which sometimes follows is seldom based on good will: usually on desire, rage, fear, pity or longing. The modern illusion concerning painting (which post-modernism has done nothing to correct) is that the artist is the creator. Rather he is a reciever. What seems like creaton is the act of giving form to what he has recieved.

A drawing is an autobiographical record of one's discovery of an event - either seen, remembered or imagined. A 'finished' work is an attempt to construct an event in itself.

The impulse to paint comes neither from observation nor from the soul (which is probably blind) but from an encounter: the encounter between painter and model: even if the model is a mountain or a shelf of empty medicine bottles.

Never again shall a single story be told as though it were the only one.