Fairy tales are about money, marriage, and men. They are the maps and manuals that are passed down from mothers and grandmothers to help them survive.

Wonder has no opposite; it springs up already doubled in itself, compounded of dread and desire at once, attraction and recoil, producing a thrill, the shudder of pleasure and of fear.

Fairy tales are about money, marriage, and men. They are the maps and manuals that are passed down from mothers and grandmothers to help them survive.

Love can make you turn on yourself, and it can do harmful things to you. It's a deep lesson in human psychology, as with many of the stories. Anyways, that's just an example of one of the most wicked women in the Nights.

Romance, in its earliest surviving form, was called ‘erotika pathemata’ by the Greeks - tales of erotic suffering.

The female form provides the solution in which the essence itself is held; she is passio, and acted upon, the male is actio, the mover.

I see the carpet reflecting that narratological structure of the storytelling, with Scheherazade as the outside frame story on the outside, with the stories woven on the inside. It's also demonstrative of the infinity of it, with no beginning and no end. The carpet is also a kind of metonym for cinema, this idea that the flat surface carries a terrific depth of imaginative field while remaining totally flat.