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“No organism can afford to be conscious of matters with which it could deal at unconscious levels. Broadly, we can afford to sink those sorts of knowledge which continue to be true regardless of changes in the environment, but we must maintain in an accessible place all those controls of behavior which must be modified for every instance. The economics of the system, in fact, pushes organisms toward sinking into the unconscious those generalities of relationship which remain permanently true and toward keeping within the conscious the pragmatic of particular instances.”

“Lately I feel films are more and more like music. Music deals with abstractions and, like film, it involves time. It has many different movements, it has much contrast. And through music you learn that, in order to get a particular beautiful feeling, you have to have started far back, arranging certain things in a certain way. You can't just cut to it.”

“My major preoccupation is the question, 'What is reality ?' Many of my stories and novels deal with psychotic states or drug-induced states by which I can present the concept of a multiverse rather than a universe. Music and sociology are themes in my novels, also radical political trends; in particular I've written about fascism and my fear of it.”

“Sexual and reproductive health and rights are universal human rights!They are an indivisible part of the broader human rights and development equation. Their particular power resides in the fact that they deal with the most intimate aspects of our identities as individuals and enable human dignity, which is dependent on control of our bodies, desires and aspirations.”

“Theater roles are written by the great masters. The greatest literature that you can possibly know are the theater roles like King Lear, Hamlet, and all of those great roles. So all you do is you dive into these unchallenged roles and see how far you can get, what kind of accolades you can get, and how good you can be in them. In movie roles, you can actually improve them by knowing a lot about your own stage technique, which helps a great deal in the cinema and how you can project inner humor even though the particular dialogue is not necessarily funny, but you can infuse it with humor.”