All preachers of morality, as also all theologians have a bad habit in common: all of them try to persuade man that he is very ill, and that a severe, final, radical cure is necessary.
I think I tend to destroy the better paintings, or those that have been better to a certain extent. I try and take them further, and they lose all their qualities, and they lose everything. I think I would say that I destroy all the better paintings.
Through my films I'm eventually trying to one day tell the truth. I don't know if I'm ever going to get there, but I'm slowly letting pieces of myself out there and then maybe by the time I'm 85, I'll look back and say, 'All right, that about sums it up.
In my introductory course, Anthropology 160, the Forms of Folklore, I try to show the students what the major and minor genres of folklore are, and how they can be analyzed.
For the world is an ever-elusive and ever-disappointing mirage only from the standpoint of someone standing aside from it—as if it were quite other than himself—and then trying to grasp it. But a third response is possible. Not withdrawal, not stewardship on the hypothesis of a future reward, but the fullest collaboration with the world as a harmonious system of contained conflicts—based on the realization that the only real "I" is the whole endless process.