“It's an old church and smells like a museum - in a good way, a survived-lots-of-shit-and-still-standing kind of way. Something about the stained-glass windows works for me too. If I were to get all deep on you, I could say the idea of all those broken pieces being made into something so damn pretty appeals to me. Good thing I'm not that profound. (54)”

“...I'm innocent still -inside me are stained glass windows that have never been broken- and when I see your light it stains my soul with color ...”

“It's appealing to imagine that if we can just get that one thing in our life to work out-- [...] that everything will be solved, absolved, good to go for good. I slipped into that way of thinking way too often, I admitted to Missy, even though I knew that sometimes in life all of a sudden there you were--standing with your Technics turntables just across the Canadian border, and you're not a new you, you're just you, but in Canada.”

“The country was so vast, of course, that one or a hundred or a thousand men could have very little effect. And how, anyway, could one fault a people bringing schools and churches and all the goods of industry? Still, there was always something about newcomers laying claim that made him uneasy, as though he were being robbed some way, or made to give over something he had never thought to value.”

“The idea tells you everything. Lots of times I get ideas, I fall in love with them. Those ones you fall in love with are really special ideas. And, in some ways, I always say, when something's abstract, the abstractions are hard to put into words unless you're a poet. These ideas you somehow know. And cinema is a language that can say abstractions. I love stories, but I love stories that hold abstractions--that can hold abstractions. And cinema can say these difficult-to-say-in-words things. A lot of times, I don't know the meaning of the idea, and it drives me crazy. I think we should know the meaning of the idea. I think about them, and I tell this story about my first feature Eraserhead. I did not know what these things meant to me--really meant. And on that particular film, I started reading the Bible. And I'm reading the Bible, going along, and suddenly--there was a sentence. And I said, forget it! That's it. That's this thing. And so, I should know the meaning for me, but when things get abstract, it does me no good to say what it is. All viewers on the surface are all different. And we see something, and that's another place where intuition kicks in: an inner-knowingness. And so, you see a thing, you think about it, and you feel it, and you go and you sort of know something inside. And you can rely on that. Another thing I say is, if you go--after a film, withholding abstractions--to a coffee place--having coffee with your friends, someone will say something, and immediately you'll say “No, no, no, no, that's not what that was about.” You know? “This is what it was about.” And so many things come out, it's surprising. So you do know. For yourself. And what you know is valid.”

“Gore is nature's way of saying, "There are too many human beings on the planet, and I'm trying to rectify this any way I can. SARS didn't work, but trust me, I'm cooking up something better. In the interim, please kill lots of yourselves.”