“Quentin Tarantino is interested in watching somebody's ear getting cut off; David Lynch is interested in the ear.”

“In a way, what Tarantino has done with the French New Wave and with David Lynch is what Pat Boone did with rhythm and blues: He's found (ingeniously) a way to take what is ragged and distinctive and menacing about their work and homogenize it, churn it until it's smooth and cool and hygienic enough for mass consumption. Reservoir Dogs, for example, with its comically banal lunch chatter, creepily otiose code names, and intrusive soundtrack of campy pop from decades past, is a Lynch movie made commercial, i.e., fast, linear, and with what was idiosyncratically surreal now made fashionably (i.e., "hiply") surreal [...] D. Lynch is an exponentially better filmmaker than Q. Tarantino. For, unlike Tarantino, D. Lynch knows that an act of violence in an American film has, through repetition and desensitization, lost the ability to refer to anything but itself. A better way to put what I just tried to say: Quentin Tarantino is interested in watching somebody's ear getting cut off; David Lynch is interested in the ear.”

“Whenever I’m interested in something, I know the timing’s off, because I’m always interested in the right thing at the wrong time. I should just be getting interested after I’m not interested any more.”

“I like watching baseball as much as my grandma’s left ear is loud. (She’d probably give her right ear for a left ear that wasn’t soundproof).”

“Generally, as a rule, the farther you get from clean-cut looks and fancy clothes the more interesting Straight Edge will probably get.”

“The reward for the watching eye and listening ear is great.”