“With me the process is much more like bird-watching than like either talking or building. I see pictures. Some of the pictures have a common flavour, almost a common smell, which groups them together. Keep quiet and watch and they will begin joining themselves up.(quoting C.S. Lewis)”

“Lewis was a scholar and deeply spiritual man, so it is no surprise that all his characters have to face the complex nature of of the human condition. As a young boy, Lewis suffered from terrible nightmares...Reading fantasy helped Lewis deal with the fears that plagued him in real life. He believed that fantasy makes it easier for children to cope with their fears. In an essay in support of fantasy literature for children, he wrote, "Since it is so likely they will meet cruel enemies{in real life], let them at least have heard of brave knights and heroic courage.Otherwise you are making their destiny not brighter but darker." By writing about serious themes like distrust, pride, temptation, and greed in a fantastical environment , Lewis helps readers recognize these emotions and forces in their own lives.”

“Life is like a B-picture script.”

“Godzilla, you see, is toppled, is depleted, is immobile and breathless, the non-conversative dictator and his polemical primeval tyranny dashed to social smithereens... for some his demise will evince agitation, adulation and appraisal, but for me, Yasuhiro Dustin T-Bird, it returns the lingering largesse of an inconsolable fear. The fear is this: that there's a thing as big as pirate continents in the China Sea that we've together mythologised up to now currently obstructing the procession of metropolitan traffic all the way to Yoyogi. His formidable draconian jaw with its legend of gargantuan teeth slacks open like a lifelong foe's long-withheld liability, and sulphur rents the air in acrid, acid plumes as though the most cultured and violent yellowcake fart in categorical memory.”

“The biggest spur to my interest in art came when I played van Gogh in the biographical film Lust For Life. The role affected me deeply. I was haunted by this talented genius who took his own life, thinking he was a failure. How terrible to paint pictures and feel that no one wants them. How awful it would be to write music that no one wants to hear. Books that no one wants to read. And how would you like to be an actor with no part to play, and no audience to watch you. Poor Vincent—he wrestled with his soul in the wheat field of Auvers-sur-Oise, stacks of his unsold paintings collecting dust in his brother's house. It was all too much for him, and he pulled the trigger and ended it all. My heart ached for van Gogh the afternoon that I played that scene. As I write this, I look up at a poster of his "Irises"—a poster from the Getty Museum. It's a beautiful piece of art with one white iris sticking up among a field of blue ones. They paid a fortune for it, reportedly $53 million. And poor Vincent, in his lifetime, sold only one painting for 400 francs or $80 dollars today. This is what stimulated my interest in buying works of art from living artists. I want them to know while they are alive that I enjoy their paintings hanging on my walls, or their sculptures decorating my garden”

“Not so long ago we were all a tightly knit group of friends. Too bad someone had ripped apart the stitches that held us together, unraveling the cozy blanket of our friendship and leaving just enough strands to hang ourselves with.”

“I dinnae get people, like they all want to be watched, to be seen, like all the time. They put up their pictures online and let people they dinnae like look at them! And people they’ve never met as well, and they all pretend tae be shinier than they are – and some are even posting on like four sites; their bosses are watching them at work, the cameras watch them on the bus, and on the train, and in Boots, and even outside the chip shop. Then even at home – they’re going online to look and see who they can watch, and to check who’s watching them!”