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“Arthur Schlesinger, Jr., in a mordant protest written soon after the [1952] election, found the intellectual "in a situation he has not known for a generation." After twenty years of Democratic rule, during which the intellectual had been in the main understood and respected, business had come back into power, bringing with it "the vulgarization which has been the almost invariable consequence of business supremacy.”

“Whole great chunks of written history are of little value to the psychohistorian, while other vast areas which have been much neglected by historians - childhood history, content analysis of historical imagery, and so on - suddenly expand from the periphery to the center of the psychohistorian's conceptual world, simply because his or her own new questions require material nowhere to be found in history books.”

“... And we talk it out. Lately, I've had Roy Thomas come in, and he sits and makes notes while we discuss it. Then he types them up, which gives us a written synopsis. Originally - I have a little tape recorder - I had tried taping it, but then I found no one on staff has time to listen to the tape again later. But this way he makes notes, types it quickly, I get a carbon, the artist gets a carbon ... so we don't have to worry that we'll forget what we've said.”

“In England Giordano Bruno had given lectures on the plurality of worlds, and in that country had written, in Italian, his most important works. It added not a little to the exasperation against him, that he was perpetually declaiming against the insincerity, the impostures, of his persecutors - that wherever he went he found skepticism varnished over and concealed by hypocrisy; and that it was not against the belief of men, but against their pretended belief, that he was fighting; that he was struggling with an orthodoxy that had neither morality nor faith.”

“The idea was to take fine art and put it into the location of the movie scripts. The script itself is collage - some of the lines come from actual movies and I've written others to make the text work with the found image. In this way, the details of old dead guys' paintings (from the collection of the Städel Museum in Frankfurt, where this work will be exhibited in relation to the historical paintings) become illustrations of the movie scripts. I found this mélange of high art and Hollywood amusing.”

“There's been more written about Lincoln than movies made about him or television portraying him. He's kind of a stranger to our industry, to this medium. You have to go back to the 1930s to find a movie that's just about Abraham Lincoln. I just found that my fascination with Lincoln, which started as a child, got to the point where after reading so much about him I thought there was a chance to tell a segment of his life to to moviegoers.”

“Perhaps the most remarkable thing I found about the Bible was how flexible it is. Here we have a book written 3,000 years ago, with bizarre stories, peculiar laws, erratic deity, and yet we are able - through argument, selective reading, and desire - to find a powerful framework of laws and moral reasoning that have built a very successful society. So this Bible, for all its oddities and flaws, serves us beautifully after all these years.”

“The reason I've gotten into script-writing, which was accidental to begin with, was that I found it was a far more effective medium for violence. Which is something that I'd always written in songs, but the violence always sat strangely within a song. And I was always interested in the way in which you listen to murder ballads and things like that - these weird lines would kind of come out, like, I drug her by the hair or something - that sat weirdly in the song. Film seems to be a medium designed for betrayal and violence.”

“When we follow our hearts, we follow the path of lessons we were meant to take and gain knowledge from. Sometimes the heart conquers over reason, and this may lead us to making serious mistakes, but these are mistakes written for us to grow. This is the real reason you hear 'FOLLOW YOUR HEART'. And the real reason you hear, 'FOLLOW YOUR DREAMS' is because our dreams expose us to our true multidimensional realities outside of this delusional realm we call reality. Our TRUE reality can be found in our dreams, where we are our true multidimensional selves.”

“As a consumer, if I heard someone who said, "I've written this song," and then I found out it wasn't by them, it's a bit disappointing. A lot of the guys that do that are really talented and they've made some incredible music, but they get addicted to having success and feel too much pressure, so they get other people to make sure that their next song makes money.”

“I started out as an actor, but I forced myself to be a writer, even though I wasn't very good at it and had never written. I don't think I ever passed an English course in my life. My first eight to 10 scripts were pretty horrendous, but I stayed at it, stayed at it, and stayed at it, until I eventually found a voice and a subject like Rocky that people were interested in.”

“I think the first time you have to change code you’ve written previously, to add features or remove a bug, you realize that you could have done it better in the first place, that you could have found an architecture that would make it easier to transform and grow the code. And this is terribly seductive—you’re not just building a solution to a problem, you’re potentially building a beautiful solution, with ‘beautiful’ here being defined here by an aesthetics of present and future functionality. This can be a trap.”

“Critics have found in the narrative a veneer of erudition that cloaks nothing more than a James Bond-style romp, albeit a highly addictive one. His publisher has described it as 'a thriller for people who don't like thrillers'. One newspaper put it thus: 'It is terribly written, its characters are cardboard cutouts, the dialogue is excruciating in places and, a bit like a computer manual, everything is overstated and repeated - but it is impossible to put the bloody thing down.”

“I think there's great value to the Associated Press and to Reuters, but if you wanted to generate original content, maybe written by local writers, it just takes a little bit of openness to open your pages up to a wider freelance writer pool, and then you might find new voices and a wider array of voices, and definitely more original content that can't be found anywhere else.”

“Do not believe in anything simply because you have heard it. Do not believe in anything simply because it is spoken and rumored by many. Do not believe in anything simply because it is found written in your religious books. Do not believe in anything merely on the authority of your teachers and elders.”

“I would not have majored in English and gone on to teach literature had I not been able to construct a counterargument about the truthfulness of fiction; still, as writers turn away from the industrious villages of George Eliot and Thomas Hardy, I learn less and less from them that helps me to ponder my life. In time, I found myself agreeing with the course evaluations written by my testier freshman students:'All the literature we read this term was depressing.' How naive. How sane.”

“Finally I do like best of all stories whose necessity is in the implied recognition that someplace out there there exists an urgency-a chaos-, an insanity, a misrule of some dire sort which can end life as we know it but for the fact that this very story is written, this order found, this style determined, the worst averted, and we are beneficiaries of that order by being readers”

“The first song I wrote and had published was titled "Just As Long As That Someone Is You". It was written in 1959, and recorded in 1965 by Jimmy Ellege. I started writing songs because I wanted something of my own to sing. I, at that time, was not aware that the songs I heard on the radio were not written by the folks singing them. I had always loved poetry, and found it easy to integrate a melody with poetry.”

“I feel a lot of sympathy for the young women I've written about, including Younger Janice. I think that all of them (me in Girlbomb, Samantha in Have You Found Her, and Elizabeth in I, Liar) had some early family trauma that contributed to their dysfunctional methods of dealing with the world, but I wouldn't call them/myself victims - survivors, maybe, but not victims. Nor do I think of them/myself as con artists.”