I Don't Like Doing Interviews. There Is

If You Really Want To Communicate Something, Even If It’s Just An Emotion Or An Attitude, Let Alone An Idea, The Least Effective And Least Enjoyable Way Is Directly. It Only Goes In About An Inch. But If You Can Get People To The Point Where They Have To Think A Moment What It Is You’re Getting At, And Then Discover It, The Thrill Of Discovery Goes Right Through The Heart.

You're Free To Speculate As You Wish About The Philosophical And Allegorical Meaning Of The Film—and Such Speculation Is One Indication That It Has Succeeded In Gripping The Audience At A Deep Level—but I Don't Want To Spell Out A Verbal Road Map For 2001 That Every Viewer Will Feel Obligated To Pursue Or Else Fear He's Missed The Point.

The Lasting And Ultimately Most Important Reputation Of A Film Is Not Based On Reviews, But On What, If Anything, People Say About It Over The Years, And On How Much Affection For It They Have.

It's Impossible To Tell You What I'm Going To Do Except To Say That I Expect To Make The Best Movie Ever Made.

I Don't Think That Writers Or Painters Or Filmmakers Function Because They Have Something They Particularly Want To Say. They Have Something That They Feel. And They Like The Art Form; They Like Words, Or The Smell Of Paint, Or Celluloid And Photographic Images And Working With Actors. I Don't Think That Any Genuine Artist Has Ever Been Oriented By Some Didactic Point Of View, Even If He Thought He Was.