“I don't hold to the idea that God causes suffering and crisis. I just know that those things come along and God uses them. We think life should be a nice, clean ascending line. But inevitably something wanders onto the scene and creates havoc with the nice way we've arranged life to fall in place.”

“If there was a God he reasoned it would have the same relation to us as we have to blades of grass. Do we make them grow? Yes in the sense that we water the lawn. Do we care for them and worry over them? Again as a lawn but not as individual blades. We don't give them names. We just want them to look nice and green. A God who created the earth would want it to look nice an blue from space. He would sit back after a long day of creating things and think to himself now that's what a planet should look like.”

“I think computer viruses should count as life ... I think it says something about human nature that the only form of life we have created so far is purely destructive. We've created life in our own image.”

“God plants His saints in the most useless places. We say, 'God intends me to be here because I am so useful.' Jesus never estimated His life along the line of the greatest use. God puts His saints where they will glorify Him, and we are no judge at all of where that is.”

“I lived in pain because I chose to live in pain. Somewhere along the line, I fell in love with the idea of tragedy, the idea that I was destined to live a tragic life. I had this romantic idea about the life of a writer and what he was supposed to suffer. [...:] Somehow I made my own pain a kind of god.”

“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.”