In contrast to the written account-which, depending on its complexity of thought, reference, and vocabulary, is pitched at a larger or smaller readership-a photograph has only one language and is destined potentially for all.

The public voice in the theater today is crude and raucous, and, all too often, weak-minded.

There is an understandable vindictiveness in people who come from Communist countries. They want to keep telling us that we were fools to think that we could make radical changes in our society. Though I understand their dismay, respect their suffering and don't understand the gullibility of some people who don't take in how repressive these societies are, I still think it's important to keep people of all kinds as active in civic matters as possible.

Chris Marker has a brilliant mind and heart and appetite for life, and it's a privilege to travel with him to whatever he chooses to remember and to evoke. He is one of cinema's all time greats - the most important reflective or non-narrative filmmaker after Dziga Vertov.

The camera can be lenient; it is can also expert at being cruel. But its cruelty only produces another kind of beauty, according to the surrealist preferences which rule photographic taste.

My idea of a writer: someone interested in everything.

The discovery of the good taste of bad taste can be very liberating. The man who insists on high and serious pleasures is depriving himself of pleasure; he continually restricts what he can enjoy; in the constant exercise of his good taste he will eventually price himself out of the market, so to speak. Here Camp taste supervenes upon good taste as a daring and witty hedonism. It makes the man of good taste cheerful, where before he ran the risk of being chronically frustrated. It is good for the digestion.