We've got to temper anything we say with that. On the other hand, you've got to be serious about what you do. And you've got to understand the price you pay for frivolity or just for greed - it's a very high price, especially if you're involved in this sacred material, which is about the human heart and human desire and human tragedy.

I guess you go for nothing, if you really want to go that far.

I think that any songwriter - and I think that Bob Dylan knows this more than all of us - you don't write the songs anyhow.

We are awakening from the dream of isolation, from the dream of loneliness, and it's a terrible shock.

What is most original in a man's nature is often that which is most desperate. Thus new systems are forced on the world by men who simply cannot bear the pain of living with what is. Creators care nothing for their systems except that they be unique. If Hitler had been born in Nazi Germany he wouldn't have been content to enjoy the atmosphere.

A song, you know, you've got a tempo. You know,you've got something that is moving swiftly. You can't stop it, you know? Andit's designed to move swiftly from, you know, mouth to mouth, heart to heart,where a poem really speaks to something that has no time and that is - it's acompletely different perception.

The psychologists are valiantly trying to provide us with answers, the religious people are trying to provide us with answers. I think it properly falls on the cultural workers to investigate this predicament with a little less concern for the marketplace and a little more concern for their higher calling.