Cinema is a kind of pan-art. It can use, incorporate, engulf virtually any other art: the novel, poetry, theater, painting, sculpture, dance, music, architecture. Unlike opera, which is a (virtually) frozen art form, the cinema is and has been a fruitfully conservative medium of ideas and styles of emotions.

A family's photograph album is generally about the extended family and, often, is all that remains of it.

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 young-old polarization and the male-female polarization are perhaps the two leading stereotypes that imprison people.

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.

Today is such a time, when the project of interpretation is largely reactionary, stifling. Like the fumes of the automobile and of heavy industry which befoul the urban atmosphere, the effusion of interpretations of art today poisons our sensibilities. In a culture whose already classical dilemma is the hypertrophy of the intellect at the expense of energy and sensual capability, interpretation is the revenge of the intellect upon art.

I want to live as long as possible, just to see how stupid it gets.