“I can’t say precisely. I don’t think anyone really knows how a story takes shape. When it’s done you try to explain how it happened, but every effort, at least in my case, is insufficient. There is a before, made up of fragments of memory, and an after, when the story begins. But before and after, I have to admit, are useful only in answering your question now in an intelligible way.”

“You weaseled your way into my life, Simon Lewis, and I don’t know how or why or even when but it happened, and I kind of hate it but I can’t change it, and here it is”

“All of these politicians that I’m running against now, they’re trying to disassociate. I mean, you looked at Bush, it took him five days to answer the question on Iraq. He couldn’t answer the question. He didn’t know. I said, “Is he intelligent?” Then I looked at Rubio. He was unable to answer the question, is Iraq a good thing or bad thing? He didn’t know. He couldn’t answer the question. How are these people gonna lead us? How are we gonna — how are we gonna go back and make it great again? We can’t. They don’t have a clue. They can’t lead us. They can’t. They can’t even answer simple questions. It was terrible.”

“I know how to tell a story, but there’s a deeper thing I’m trying to get to now that can’t be expressed with a caption.”

“When I try to forget you, your memories always makes a thousands question, when they don't get answers to questions, then your memories starts quarrels with me. I'm get lost in labyrinth of your memories because your memories make me desperate, how can I go away from you and from your memories, because your memories follow me everywhere and every moment.”

“When I was fifteen, an extraordinary and terrible thing happened, and there was only Before and After.”

“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.”

“The story is one that you and I will construct together in your memory. If the story means anything to you at all, then when you remember it afterward, think of it, not as something I created, but rather as something that we made together.”

“I can't imagine how anyone can say: "I'm weak," and then remain so. After all, if you know it, why not fight against it, why not try to train your character? The answer was: "Because it's so much easier not to!”

“I know I was writing stories when I was five. I don’t remember what I did before that. Just loafed, I suppose.”