Zitat des Tages von Terry Southern:
In the case of The Loved One, I was hired to collaborate on an updated version of the book.
Someone wrote a piece about Henry Green in The Partisan Review that was so intriguing that I got one of his novels, Loving, I believe, which was the first that came to attention in the United States.
I met The Beatles and Stones at the same time, because Michael Cooper was doing several of their album covers.
When I finally made it to the set, I spent a lot of time doing damage control on The Magic Christian.
It's often the case with directors that they don't like to share credit, which is the case of Stanley. He would prefer just A Film By Stanley Kubrick including music and everything.
Peter Beard is one of those people I've known a long time. We have an affinity. We share certain values.
The Loved One has been the most underrated film I've worked on.
I met Claxton on the set of The Cincinnati Kid.
The important thing in writing is the capacity to astonish. Not shock - shock is a worn-out word - but astonish.
I like to work at night.
After Strangelove I also started work on an adaptation of The Collector.
I think the degree of alienation and despair is more universal.
Grossing Out dealt with the western nations selling arms to the Third World and exploiting these countries.
It was a good experience working with Roger Vadim and Jane Fonda.
You can't do the end of the world in a conventionally dramatic way or Boy Meets Girl way.
For a director and a producer to be named on the writing credits is practically unheard of.
Writing on a contract for a major studio you get the very best.
It's frustrating not to have more control over your material.
Sometimes we would be staked out in the middle of the river, several barges tied together. So we could party.
In that sense, film is superior, but the difficulty is your lack of control as a writer.