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If you want to tell the untold stories, if you want to give voice to the voiceless, you've got to find a language. Which goes for film as well as prose, for documentary as well as autobiography. Use the wrong language, and you're dumb and blind.
Throughout human history, the apostles of purity, those who have claimed to possess a total explanation, have wrought havoc among mere mixed-up human beings.
Names, once they are in common use, quickly become mere sounds, their etymology being buried, like so many of the earth's marvels, beneath the dust of habit.
A book is a version of the world. If you do not like it, ignore it or offer your own version in return.
Literature is where I go to explore the highest and lowest places in human society and in the human spirit, where I hope to find not absolute truth but the truth of the tale, of the imagination and of the heart.
The acceptance that all that is solid has melted into the air, that reality and morality are not givens but imperfect human constructs, is the point from which fiction begins.
The real risks for any artist are taken in pushing the work to the limits of what is possible, in the attempt to increase the sum of what it is possible to think. Books become good when they go to this edge and risk falling over it --when they endanger the artist by reason of what he has, or has not, artistically dared.
Quotes from the news wire:
The French satirical tradition has always been very pointed and very harsh, and still is, you know, the thing that I really resent is the way in which these, our dead comrades ... who died using the same implement that I use, which is a pen or pencil, have been almost immediately vilified and called racists and I don't know what else.
Both John F. Kennedy and Nelson Mandela use the same three-word phrase which in my mind says it all, which is, 'Freedom is Indivisible,' you can't slice it up, otherwise it ceases to be freedom. You can dislike Charlie Hedbo. ... But the fact that you dislike them has nothing to do with their right to speak.
And so artists who go to that edge and push outwards often find very powerful forces pushing back. They find the forces of silence opposing the forces of speech. The forces of censorship against the forces of utterance, at that boundary is that push-and-pull between more and less. And that push and pull can be very dangerous to the artist. And many artists have suffered terribly for that.
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