“The ending of the film seems so bizarre. It is actually probably the most literal retelling of the story of Jonah from the Bible that you've ever bumped into.”

Newsweek interview (2004)

Quotes 2000s, 2004, Interview by Wallace Shawn, 2004
Context: You can find things in the traditional religions which are very benign and decent and wonderful and so on, but I mean, the Bible is probably the most genocidal book in the literary canon. The God of the Bible - not only did He order His chosen people http://www.bible.org/netbible/1sa15.htm to carry out literal genocide - I mean, wipe out every Amalekite to the last man, woman, child, and, you know, donkey and so on, because hundreds of years ago they got in your way when you were trying to cross the desert - not only did He do things like that, but, after all, the God of the Bible was ready to destroy every living creature on earth because some humans irritated Him. That's the story of Noah. I mean, that's beyond genocide - you don't know how to describe this creature. Somebody offended Him, and He was going to destroy every living being on earth? And then He was talked into allowing two of each species to stay alive - that's supposed to be gentle and wonderful.

From Disc Two; Behind the Scenes: Jonah and the Bible (00:00:00-00:00:21)
Jonah: A VeggieTales Movie DVD (2002)

Jack Arnold in The Horror People http://eric.b.olsen.tripod.com/arnold.html (1976)

Caught in the Act : New York Actors Face to Face (1986) by Don Shewey and Susan Shacter, p. 18
Context: Superman is nothing more than a popular retelling of the Christ story, or Greek mythology. It's an archetype, watered down and made in vivid colors for twelve-year-old's mentality. It's pop mythology, which extends to the actor, then seeps over to a demand that that actor reflect the needs of the worshipers. The worship doesn't only go on in the temples — it goes on in the streets, and restaurants, in magazines. But, you know, I'm from New Jersey, I'm not from Olympus or Krypton, so back off 'cause I can't take the responsibility.

The Camelot Project interview (1996)
Context: When the legend is retold, it mirrors the reality of the time, and one can learn from studying how various authors have attempted to retell the story. I don't think we have an obligation to change it radically. I think that if we ever move too far from the basic story, we would lose something very precious. I don't, for instance, approve of fantasy that attempts to go back and rewrite the Middle Ages until it conforms to political correctness in the twentieth century. That removes all the benefit from reading the story. If you don't understand other people in their time and why they did what they did, then you don't understand your own past. And when you lose your past, you lose some potential for your own future.

In 1959 during the filming of On the Beach.
This has become a standing joke about Melbourne, but it's almost certainly either apocryphal or a misquotation.
Misattributed

Nausea (1938)

http://www.independent.co.uk/arts-entertainment/books/features/alan-moore-the-reluctant-hero-64407.html
Context: If I write a crappy comic book, it doesn't cost the budget of an emergent Third World nation. When you've got these kinds of sums involved in creating another two hours of entertainment for Western teenagers, I feel it crosses the line from being merely distasteful to being wrong. To paint comic books as childish and illiterate is lazy. A lot of comic books are very literate — unlike most films.