“I'm a firm believer that every person, young or old, has at least one good story to tell.”

Source: Moving Pictures

From an essay Toland wrote for International Photographer arguing that cinematographers needed to be uncompromising.
Hilton Als (2006). "The Cameraman". The New Yorker (June 19): 46–51

Source: The Handmaid's Tale

(22 January 2005)
Unfit for Mass Consumption (blog entries), 2005
Context: [On test audiences and alternate endings on DVDs] Seeing these two endings, knowing that the studio most likely chose the one that would close the film after polling test audiences, makes me a little ill. What if I did that with my novels? What would you think of me, if I were to so subvert the act of storytelling and mythmaking in an effort to make more money (by, I might add, perverting democracy)? Okay, at the end of Low Red Moon, I can kill Chance, or I can let her live. Which ending do you prefer? Check the box, and let us know. Should Orpheus make it back to the surface without looking to see if Eurydice is truly following him, or should he look? Should the mouse pull the thorn from the lion's paw, or should he mind his own damned business? I can only hope that it is self-evident that this process is as alien and destructive to art as anything ever could be. Yes, I'm sure it makes people more money, and money is nice, but it has very little to do with telling good and true and useful stories.

Ain't It Cool News interview

Source: The First Phone Call from Heaven

Edmund Burke, as quoted in Lacon in Council (1865) by John Frederick Boyes, p. 124
Misattributed

Country Living and Country Thinking, reported in Bartlett's Familiar Quotations, 10th ed. (1919).

As quoted in Scientific American (March 1995)