“I think what Kazan is saying is that the Method isn't a thing. It's an action, a process, a skillful or effective way of achieving a specific artistic task. It's not a pair of shoes. It's discovering how to walk. I did an affective memory at the Actors Studio years ago, after which Lee Strasberg said, "Now that's an affective memory. Darling, tell them how you did it." When I explained my process, Strasberg replied, "That's not how you do an affective memory! But that's what the Method is all about. It's a way of work!" You find your own way of carrying out your own and your character's internal truth—within your body, mind, and soul.”

On being asked how she begins a new work in “Elena Ferrante, Art of Fiction No. 228” https://www.theparisreview.org/interviews/6370/elena-ferrante-art-of-fiction-no-228-elena-ferrante in The Paris Review (Spring 2015)

Source: Watchmen

As quoted in "Profile: The Soloist" by Joan Acoccella, in The New Yorker (January 19, 1998); reprinted in Life Stories: Profiles from The New Yorker https://books.google.com/books?id=KDhjzXAjyUMC&pg=PA62 (2000), edited by David Remnick, p. 62.

Interview with Larry McCaffery in Storming the Reality Studio : A Casebook of Cyberpunk and Postmodern Science Fiction, Duke University Press (December 1991)
Context: On the most basic level, computers in my books are simply a metaphor for human memory: I'm interested in the hows and whys of memory, the ways it defines who and what we are, in how easily memory is subject to revision. When I was writing Neuromancer, it was wonderful to be able to tie a lot of these interests into the computer metaphor. It wasn't until I could finally afford a computer of my own that I found out there's a drive mechanism inside — this little thing that spins around. I'd been expecting an exotic crystalline thing, a cyberspace deck or something, and what I got was a little piece of a Victorian engine that made noises like a scratchy old record player. That noise took away some of the mystique for me; it made computers less sexy. My ignorance had allowed me to romanticize them.

Source: For One More Day

Good question, Mama. Good question.
Violating the Boundaries: An Interview with Richard Rodriguez (1999)

Talking about Chris Cornell for the first time since his death during a concert in London on June 6, 2017.

Quote from an interview with Thiebault-Sisson, 1900; as cited in Monet and His Muse: Camille Monet in the Artist's Life, Mary Mathews Gedo; University of Chicago Press, Sept. 2010, p. 10
1900 - 1920