It seems as though everyone is going to the currency of celebrity. Everyone's getting their own account of whatever that currency is. That's something neat.

Time is money, but also money is money.

I look at [Toronto] and think well, perhaps my grandchildren will someday look at this stuff with the sort of appreciation I once held for Art Deco. Although I've come to find Art Deco quite creepy too.

I realized that everyone in Western society, in some weird way, believes that they've had the experience of producing feature films.

We have no future because our present is too volatile. We have only risk management. The spinning of the given moment's scenarios. Pattern recognition.

If I meet someone and discover that they're an absolute, very earnest nationalist, it's unlikely that I'm going to get much closer to them. I don't understand them. It doesn't matter where they're from, I just don't get it. I'm a multi-national kind of guy.

Japan had a more radical experience of future shock than any other nation in the Nineteenth and Twentieth Centuries. They were this feudal place, locked in the past, but then they bought the whole Industrial Revolution kit from England, blew their cultural brains out with it, became the first industrialized Asian nation, tried to take over their side of the world, got nuked by the United States for their trouble, and discovered Steve McQueen! Their take on iconic menswear emerges from that matrix.