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Bergman has a very special eye for people. His background taught him to listen and to feel.

Great storytellers in the past would go to an unknown land and return to tell the stories they've found. Those were also journeys into their inner psyches and that's still true today. An actor, a writer, does that as if saying, 'Here's what I've discovered about myself and about the world I'm in. I would like to share this with you.'

As the character talks and moves, the world around him is slowly revealed, just like dollying a camera back for a wider look at things. So all my stories start with a character, and that character introduces setting, culture, conflict, government, economy... all of it, through his or her eyes.

In order to appreciate a great man, we must know his surroundings. We must understand the scope of the drama in which he played - the part he acted - and we must also know his audience.

How man evolved with such an incredible reservoir of talent and such fantastic diversity isn't completely understood... he knows so little and has nothing to measure himself against.

Bret Easton Ellis is a social satirist; I consider myself aligned with how he does things. Bret doesn't write about that which he loves about the world, he writes about what disgusts him. You'd be a disturbed individual if you came out and said, 'I love these characters'.

What makes Shakespeare eternal is his grasp of psychology. He knew how to nail stuff about us as human beings.

I am very sure that any man of common understanding may, by culture, care, attention, and labor, make himself what- ever he pleases, except a great poet.

I have always had trouble recognizing myself in the features of the intellectual playing his political role according to the screenplay that you are familiar with and whose heritage deserves to be questioned.