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“It's a profoundly different thing to be able to refer to the images you are taking at the time and check them out on a laptop that is plugged into your Hasselblad and go "oh no, do it again, do it again" - all of those a requickly made decisions. The fact that you can see the images right away in a funny way makes the whole relationship more casual. I don't want a casual relationship with my subject.”

“Bored with obvious reality, I find my fascination in transforming it into a subjective point of view. Without touching my subject I want to come to the moment when, through pure concentration of seeing, the composed picture becomes more made than taken. Without a descriptive caption to justify its existence, it will speak for itself - less descriptive, more creative; less informative, more suggestive - less prose, more poetry.”

“And for the authentical truth of either person or actions, who (worth the respecting) will expect it in a poem, whose subject is not truth, but things like truth? Poor envious souls they are that cavil at truth's want in these natural fictions; material instruction, elegant and sententious excitation to virtue, and deflection from her contrary, being the soul, limbs, and limits of an authentical tragedy.”

“The difference is in Hostel it's in the theatre - it's in public but it's in a private place. You have to actively make a choice to want to go see it. It's not being forced on anyone. Whereas 24 you can be flipping channels and it's right there in your living room. Anyone has access to that. But that just shows how mainstream it is and how people are seeing this stuff on YouTube. People are scared of it. This is a subject matter that everyone's talking about and everyone's thinking about, particularly in American culture.”

“I feel like a lot of people involved with celebrity journalism have interesting ideas about the people they want to write about going into the interview. Then as soon as they actually sit down with that person, they basically ask the questions they think journalists are supposed to ask, and they start viewing themselves almost as a peer of the subject. Like they're going to become friends. That's why most celebrity journalism is so terrible.”

“When I was collecting material for a political gossip column, and someone said something interesting, I would wait for them to add, "and I don't want to read that in your magazine!" In which case I wouldn't use it. But if they didn't remember to say it, I'd nip off to the loo, write the story up, come back and change the subject.”

“The confusion, the difficulties, the contradictions which, in consequence of a want of accurate distinctions in this particular, have up to even a recent period encumbered mathematics in all those branches involving the consideration of negative and impossible quantities, will at once occur to the reader who is at all versed in this science, and would alone suffice to justify dwelling somewhat on the point, in connexion with any subject so peculiarly fitted to give forcible illustration of it as the Analytical Engine.”

“I want to talk with people who care about things that matter that will make a life changing difference. True or true? Yes or yes? I never let my subject get in the way of what I want to talk about. When your self-worth goes up, your net worth goes up with it. In imagination, there's no limitation. Don't think it, ink it.”

“Sovereigns always see with pleasure a taste for the arts of amusement and superfluity, which do not result in the exportation of bullion, increase among their subjects. They very well know that, besides nourishing that littleness of mind which is proper to slavery, the increase of artificial wants only binds so many more chains upon the people.”

“Nothing can be left until the last minute, so that everyone knows exactly where they are. Everyone is comfortable and everyone feels safe because we want people to be able to keep coming into this show and taking those risks. There are a lot of risks in this show, not just nudity, but emotional risks. We want the best actors to feel comfortable about coming in and exploring this subject matter with us.”

“In the province of Quebec where I come from, we speak French and the only cosmopolitan city is Montreal. Every time we tackle the subject of immigration and racial tension, it's an issue that concerns Montreal. Also, in Quebec, we have this added issue that we want people to speak French, because French is always on the verge of disappearing to some extent. I work, play and do everything in French.”

“If a subject has a delicate surface to it, you do not want to go charging in there. You need to establish some kind of presence and understanding. I will say, Try to forget I'm here. I won't ask you to pose, I won't ask you to do anything. It's important that I just be allowed to be around, to be present. Photographing people requires a willingness to be rejected. So, I think the best approach is to be honest and direct. Very often, I tell them, You don't know me. There's no reason why you should trust me... the only thing I can promise is that I'll try to do the most honest work I can.”