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“Something I always wanted to do, to capture that later half of the '70s. It's like the early half of the '70s is still the '60s, in that there's still kind of a playfulness and inventiveness in terms of design and the things that were going on in the culture. The second half, it got much more commodified. It's possibly the ugliest era of architecture and clothes and design in the entire 20th century, from 1975 to '81 or '82.”

“The sceptics, a kind of nomads, despising all settled culture of the land, broke up from time to time all civil society. Fortunately their number was small, and they could not prevent the old settlers from returning to cultivate the ground afresh, though without any fixed plan or agreement.”

“The museum is full of interesting things. All kinds of paintings are there. And then paintings too thick to put in a frame, that they call sculpture. And then there are spectators. with their scorecards, rooting for culture. And spectators of the spectators, looking for love's introduction. And art students taking notes. And old women trying to remember the past. And old men with too much to forget. And tourists, thinking that a museum represents a city. And loafers so poor, they study their soberness here.”

“The principal thing is the question of how our culture views age: that old is ugly Just think of Rodin, how he dealt with people of all ages. I have the feeling that I'm alive, I have a body I can make it extremely interesting. That keeps me alive and vital. It's a kind of process of energizing myself by my belief that the classical tradition of art that we've inherited from the Greeks is a load of bullshit.”

“Man... is an inextricable tangle of culture and biology. And not being simple, he is not simply good; he has... a kind of hell within him from which rise everlastingly the impulses which threaten his civilization. He has the faculty of imagining for himself more in the way of pleasure and satisfaction than he can possibly achieve. Everything that he gains he pays for in more than equal coin; compromise and the compounding with defeat constitute his best way of getting through the world. His best qualities are the result of a struggle whose outcome is tragic. Yet he is a creature of love.”

“The "female culture" has shifted more rapidly than the "male culture"; the image of the go-get 'em woman has yet to be fully matched by the image of the let's take-care-of-the-kids- together man. More important, over the last thirty years, men's underlying feelings about taking responsibility at home have changed much less than women's feelings have changed about forging some kind of identity at work.”

“Even personal tastes are learned, in the matrix of a culture or a subculture in which we grow up, by very much the same kind of process by which we learn our common values. Purely personal tastes, indeed, can only survive in a culture which tolerates them, that is, which has a common value that private tastes of certain kinds should be allowed.”

“There are some despotic governments so filled with a feeling of insecurity that they regard the free life of culture as a threat to their existence. ... On the other extreme is the kind of popular government which is so distrustful of all forms of distinction that it sees even in the cultivated individual a menace to its existence. Such states are likely to maintain a pressure which discourages cultural endeavor, although the pressure may be exerted through social channels.”