The Past Is The One Thing We

The Heart Of Paris Is Like Nothing So Much As The Unending Interior Of A House. Buildings Become Furniture, Courtyards Become Carpets And Arrases, The Streets Are Like Galleries, The Boulevards Conservatories. It Is A House, One Or Two Centuries Old, Rich, Bourgeois, Distinguished. The Only Way Of Going Out, Or Shutting The Door Behind You, Is To Leave The Centre.

Nothing Fortuitous Happens In A Child's World. There Are No Accidents. Everything Is Connected With Everything Else And Everything Can Be Explained By Everything Else. . . . For A Young Child Everything That Happens Is A Necessity.

The Past Is The One Thing We Are Not Prisoners Of. We Can Do With The Past Exactly What We Wish. What We Can't Do Is To Change Its Consequences.

Directors Like Satyajit Ray, Rossellini, Bresson, Buñuel, Forman, Scorsese, And Spike Lee Have Used Non-professional Actors Precisely In Order That The People We See On The Screen May Be Scarcely More Explained Than Reality Itself. Professionals, Except Fo The Greatest, Usually Play Not Just The Necessary Role, But An Explanation Of The Role.

The Impulse To Paint Comes Neither From Observation Nor From The Soul (which Is Probably Blind) But From An Encounter: The Encounter Between Painter And Model: Even If The Model Is A Mountain Or A Shelf Of Empty Medicine Bottles.