It was exciting to work with director Jennifer Baichwal, who made Manufactured Landscapes and others, on the film of Payback: Debt and the Shadow Side of Wealth. It's called, simply, PAYBACK. Jennifer didn't want to do a transliteration of the book, a kind of illustrated version, but to go into the core of the book: owing and being owed, paying and paying back, on all sorts of levels. So she found real-life, visceral stories that embodied the themes of the book.

When I am lonely for boys it’s their bodies I miss. I study their hands lifting the cigarettes in the darkness of the movie theaters, the slope of a shoulder, the angle of a hip. Looking at them sideways, I examine them in different lights. My love for them is visual: that is the part of them I would like to possess. Don’t move, I think. Stay like that, let me have that.

If you knew what was going to happen, if you knew everything that was going to happen next—if you knew in advance the consequences of your own actions—you'd be doomed. You'd be ruined as God. You'd be a stone. You'd never eat or drink or laugh or get out of bed in the morning. You'd never love anyone, ever again. You'd never dare to.

Why are you so interested in amoebas?" "Oh, they're immortal," he said, "and sort of shapeless and flexible. Being a person is getting too complicated.

Beginnings are sudden, but also insidious. They creep up on you sideways, they keep to the shadows, they lurk unrecognized. Then, later, they spring.

Hope drives us to invent new fixes for old messes, which in turn create ever more dangerous messes. Hope elects the politician with the biggest empty promise; and as any stockbroker or lottery seller knows, most of us will take a slim hope over prudent and predictable frugality. Hope, like greed, fuels the engine of capitalism.

These things sneak up on him for no reason, these flashes of irrational happiness. It's probably a vitamin deficiency.