“Without really trying, I have become a collector of other families' secrets. Whenever I tell someone about my detective work, the first question is invariably something like this: 'Can you tell me the secret?' Sure, I say. The next question often is: 'Want to hear my family's secret?”

“Secrets, I've discovered, have a way of working free of their keepers.”

“But what do I believe?”

“How can another see into me, into my most secret self, without my being able to see in there myself? And without my being able to see him in me. And if my secret self, that which can be revealed only to the other, to the wholly other, to God if you wish, is a secret that I will never reflect on, that I will never know or experience or possess as my own, then what sense is there in saying that it is my secret, or in saying more generally that a secret belongs, that it is proper to or belongs to some one, or to some other who remains someone. It's perhaps there that we find the secret of secrecy. Namely, that it is not a matter of knowing and that it is there for no one. A secret doesn't belong, it can never be said to be at home or in its place. The question of the self: who am I not in the sense of who am I but rather who is this I that can say who? What is the- I and what becomes of responsibility once the identity of the I trembles in secret?”

“Stories rarely begin at the beginning, but every storyteller has to begin somewhere, and Anna chooses to start this story with shame.”

“I don't want to fail, of course. But even though I didn't know how bad things really were, I still had a lot to think about before I said yes. I had to consider the implications for Pixar, for my family, for my reputation. I decided that I didn't really care, because this is what I want to do. If I try my best and fail, well, I've tried my best.”

“For I did not want him to see, or to question me, for here contains already secrets, and my secrets are my fortune and my sanity.”