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“Safety lies in catering to the in-group. We are not all brave. All I would ask of writers who find it hard to question the universal validity of their personal opinions and affiliations is that they consider this: Every group we belong to - by gender, sex, race, religion, age - is an in-group, surrounded by an immense out-group, living next door and all over the world, who will be alive as far into the future as humanity has a future. That out-group is called other people. It is for them that we write.”

“I have a really good idea of who my readers are and always write with a sensitivity to my audience. I use the F word when necessary, but there are words I won't use, mainly because I don't like them. I don't write about body parts when I write about sex. It's not about the physiological, it's more important for teens to read about the emotional aspects. I do think there are times when self-censorship is important.”

“Ideas about the scope and meaning of freedom of speech do expand and contract with the times. At the moment, we live in an age that is very permissive, both legally and socially, on a wide range of subjects from Karl Marx to kinky sex. This has not always been the case. Things that even children freely see and read and hear today -- writings, pictures, words -- would have been banned as just plain obscene, even for adults, as recently as the middle of the twentieth century.”

“I think it's an American curse that most of us think we are special. ... everyone believes themselves to be superior to the majority of the population in some way. Sometimes it's their looks, other times their perceived sex appeal (often in obvious defiance of their looks), and other times it is their real or imagined talent for acting, writing, painting or banging on the drums. And because people are so susceptible to flattery, there exists an entire industry made up of scam artists whose sole goal is to fleece the flatterable.”

“And if I'm guilty of having gratuitous sex, then I'm also guilty of having gratuitous violence, and gratuitous feasting, and gratuitous description of clothes, and gratuitous heraldry, because very little of this is necessary to advance the plot. But my philosophy is that plot advancement is not what the experience of reading fiction is about. If all we care about is advancing the plot, why read novels? We can just read Cliffs Notes.”

“I don't think I would ever write a book with what anybody could call pornography in it, because I feel that pornography is a cheat. It is an attempt to provide sexual experience by secondhand means. Now sex is a thing which has to be experienced firsthand, if you are really going to understand it, and pornography is rather like trying to find out about a Beethoven symphony by having somebody tell you about it and perhaps hum a few bars. It's not the same thing. Sex is primarily a question of relationships. Pornography is a do-it-yourself kit--a twenty-second best.”

“Both sex and death are eternal themes. You could make thousands of movies on this theme, and whether you have a human being who is painting, singing, making a film, writing, these are the themes that you will come back to and return to. If you don't have any of these artistic expressions, sex is one of the only gifts that nature gave you for free, so it is very important to celebrate it. And then, with death, we are condemned to that. This is absolutely present in our lives.”

“I'm a very dull passenger. I don't speak. I don't have sex. No alcohol. I don't do drugs. The thing that I like about flying is that I feel like I can really concentrate. I used to write many things, and many ideas for my movies belong to this moment where I'm not anywhere specifically in terms of time and space and geography. I am suspended, and this suspension fits me very well.”

“People who take books on sex to bed become frigid. You get self-conscious. You can't think a story. You can't think, "I shall do a story to improve mankind." Well, it's nonsense. All the great stories, all the really worthwhile plays, are emotional experiences. If you have to ask yourself whether or not you love a girl or you love a boy, forget it. You don't. A story is the same way. You either feel a story and need to write it, or you better not write it.”

“The very dull truth is that writing love scenes is the same as writing other scenes - your job is to be fully engaged in the character's experience. What does this mean to them? How are they changed by it, or not? I remember being a little nervous, as I am when writing any high-stakes, intense scene (death, sex, grief, joy).”

“There's always something new with sex. We lived in a world without Viagra, now we live in a world with Viagra. We lived in a world without blowjobs and anilingus in the Oval Office, and then it happens and you get to write about it. We live in a world where now the government is screwing with contraception and holding back vaccines that could save 4,000 women's lives a year, and you get to write about that. It's not as much fun as anilingus in the Oval Office, but what are you going to do? If you pay attention, there's always something new, and it's always really invigorating.”

“It's to a writer's advantage to contain within himself elements of each sex, or any sex. It's to his advantage because it makes him able to write from the female point of view as well as the male. In some cases, of course, you will find some homosexual writers who can only write from a f - - -'s point of view. But I don't regard myself as a f - - -! Some people may. Also audiences wanted escapism. They don't like too much protest or criticism of their way of life.”