“If you asked him, he would say the only connection between free will and religion in his life was the fact that he hadn’t set foot in a synagogue since he turned eighteen.”

Vulture interview (2014)
Context: I was on the set of Tree of Life. He was with me, and he asked me [if I] would play Eleanor Rigby in his film. And I said, “Yes, but it’s so much the male perspective,” [whispers] like the majority of films that are made. I said, “I’d like to know more about the woman. I’d like to know her perspective as well.” So he went and he wrote Her. And it was very collaborative because every day as he’d write, I’d be working, and I’d come back and he’d ask me questions about sisters or whatnot and how women talk with each other, and I found that to be really exciting. … he was the full writer. I was his bounce board. Not story things, because that’s the main part of the film, but just things like, you know, cutting the hair. You know, because girls, we all tell each other, “Don’t cut your hair when you’re pregnant, don’t cut your hair when you have a breakup or when a tragedy happens.” It’s something that we like to do when we’re in an emotional place for some reason. Right? But that’s something that a man may not know, that’s inherently female. And so it was my idea, I wanted Eleanor to cut her hair off, because then it connects to then her disappearing herself as well.

Source: Art applied to industry: a series of lectures, 1865, p. 2

Source: The Bourgeois: Catholicism vs. Capitalism in Eighteenth-Century France (1927), p. 120

Source: The Dervish House (2010), Ch. 5, §6 (p. 178)

Source: Memoirs of a Teenage Amnesiac

La condition humaine [Man's Fate] (1933)

Source: My Friend Leonard

The Man Who Laughs (1869)

The Pursuit of God (1957)