"I invariably, after great familiarity with a film, concoct a personal way of reading it that relies entirely on information which a public audience would, I feel, have scant interest. I might travel from a casual unrehearsed glance of a minor character to a detail of folded cloth, from a rhyme in the dialogue to an over-excited high note in the music, from a misplaced shadow to a patch of rogue colour, from a shine on a furniture leg to a curious accidental photographic haze around a street lamp, from the examination of a cloud that looks like a snail to the discomfort of an actress who I know is stifling a sneeze."

“She picks up the baby and contemplates the Bonsai-bush, and, as we watch, in the growing half-dark, the Bonsai-bush flowers. On the black-and-white film, the thousands of flower-petals blush a deep red.”

“What quaint English. They make an unpredictable linguistic duo.”

“On the other hand, I view the whole matter from a cosmic perspective. I don't take a position. I believe that there are no more positions to take, no certainties, no facts. Many people find this confusing about my films; they say I am hiding out behind irony. But from a cosmic viewpoint, it is eternally unimportant whether one lives or not.”

“I made a very bad mistake; I miscounted these scraps of information on the record as 92, and in continual homage to this man who had been so influential to me, I began creating or constructing my own films on this so-called "magic" number of 92 … but when I eventually made a film about John Cage and met him, I explained this to him, and he found it very amusing because there are only 90 stories on the two sides of the record, and I'd based three years of my filmic career on this mathematical error!”

“Words reproduce themselves pleasurably too.”

“A hand cannot write on itself.”