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Choosing a person to marry is hence just a matter of deciding exactly what kind of suffering we want to endure rather than of assuming we have found a way to skirt the rules of emotional existence. We will all by definition end up with that stock character of our nightmares, “the wrong person.” This needn’t be a disaster, however. Enlightened romantic pessimism simply assumes that one person can’t be everything to another. We should look for ways to accommodate ourselves as gently and as kindly as we can to the awkward realities of living alongside another fallen creature. There can only ever be a “good enough” marriage. For this realization to sink in, it helps to have had a few lovers before settling down, not in order to have had a chance to locate “the right person,” but in order to have had an ample opportunity to discover at first hand, and in many different contexts, the truth that there isn’t any such a person; that everyone really is a bit wrong when considered from close up.

The reason is that they define how I have gone about my business. I have trusted to intuition. I did it at the beginning. I do it even now. I have no idea how things might turn out, where in my writing I might go next.

In heaven there are two distinct loves, love to the Lord and love towards the neighbor, in the inmost or third heaven love to the Lord, in the second or middle heaven love towards the neighbor.

Usually, if I hear songs, I record it on a Voice Memo first. I have to perfect it. I'm a big fan of delivery, and I want to make sure you're saying it right. I'm like, 'This has to be perfect when I do this.'

We were doing performance art as far back as 1965, just not calling it that.

A little philosophy inclineth man's mind to atheism; but depth in philosophy bringeth men's minds about to religion.

My first children's book, 'Tickle Monster,' was inspired by tickling my son one evening.

There's nothing more superficial to do than to paint a beautiful woman. The most beautiful portraits in art were of ugly women. If you paint Brigitte Bardot, it's a disaster. Sunsets, you have to stay away from sunsets. You paint a sunset, you are in great danger.

Lofty questions about the mind are fascinating to ask, philosophers have been asking them for three millennia both in India where I am from and here in the West - but it is only in the brain that we can eventually hope to find the answers.

The biggest surprise about making a movie has got to be the wait in between takes.

Journalists do not like to report on uncertainties. They would almost rather be wrong than ambiguous.

Love always ends differently and it always begins differently - especially with me.

It's a political and manipulative industry. Actors vie for the same roles, movies are snatched away. Have I ever been manipulated? Yes. But I haven't manipulated anyone because if you think from the heart, you cannot be calculative. I have spent nights crying.

Until someone is prepared to lay out the systemic problem, we will simply go through cycles of finding corruption, finding a scapegoat, eliminating the scapegoat, and relaxing until we find the next scandal.

The painter who is familiar with the nature of the sinews, muscles, and tendons, will know very well, in giving movement to a limb, how many and which sinews cause it; and which muscle, by swelling, causes the contraction of that sinew; and which sinews, expanded into the thinnest cartilage, surround and support the said muscle.

I'm a big traveler these days. I was in Hong Kong. I live there. I was just in Belgium with my parents and now I'm on my way to North America. You will find me all over.

They'd better be physically tough when they start pulling on their football pants.

You know, my hair is very upsetting to people, but it's upsetting on purpose. It is important to look old so that the young will not be afraid of dying. People don't like old women. We don't honor age in our society, and we certainly don't honor it in Hollywood.

I respect the astute and rigorously unsentimental David Horowitz as one of America's most original and courageous political analysts. He has the true 1960s spirit - audacious and irreverent, yet passionately engaged and committed to social change.

At 11, I went to Misha's school for two summers. So when I wasn't in that school, I was taking classes at David Howard or Robert Denver's studios - kind of legendary places - and there was one summer where Alexander Godunov sort of took me under his wing; the memory's a little murky, but I felt as if I was his project for those weeks.