“Maybe you'll change Abandon all your wicked waysMake amends and start anew againMaybe you'll seeAll the wrongs you did to meAnd start all over, start all over again.Who am i kidding?Now, lets not get overzealous hereYoure always been a huge piece of shitIf i could kill you i wouldBut it's frowned upon in all fifty statesHaving said that, burn in Hell.”

“Maybe you'll change Abandon all your wicked waysMake amends and start anew againMaybe you'll seeAll the wrongs you did to meAnd start all over, start all over again.Who am i kidding?Now, lets not get overzealous hereYoure always been a huge piece of shitIf i could kill you i wouldBut it's frowned upon in all fifty statesHaving said that, burn in Hell.”

“Bah-Bah-black sheep, have you any soul?No sir, by the way, what the hell are morals?”

“Fee-fi-fo-fum, you better run and hideI smell the blood of a petty little coward”

“I’ve got some questions,Are you sick of feelin’ sorry?And people sayin’ not to worry?Sick of hearing this hakuna matata motto,From people who won the lotto,We’re not that lucky.Have you noticed that you’re breathing?Look around and count your blessings,So when you’re sick of all this stressin’ and guessin’I’m suggestin’ you turn this up and let them hear you sing it”

“In the case of Tunisia, it was indeed this single act that sparked what had been long-standing active protest movements and moved them forward. But that's not so unusual. Let's look at our own history. Take the civil rights movement. There had been plenty of concern and activism about violent repression of blacks in the South, and it took a couple of students sitting in at a lunch counter to really set it off. Small acts can make a big difference when there is a background of concern, understanding, and preliminary activism.”

“As inexplicable as the accidents that set it off, our imagination is a crucial privilege. I've tried my whole life simply to accept the images that present themselves to me without trying to analyze them. I remember when we were shooting That Obscure Object of Desire in Seville and I suddenly found myself telling Fernando Rey, at the end of a scene, to pick up a big sack filled with tools lying on a bench, sling it over his shoulder, and walk away. The action was completely irrational, yet it seemed absolutely right to me. Still, I was worried about it, so I shot two versions of the scene: one with the sack, one without. But during the rushes the following day, the whole crew agreed that the scene was much better with the sack. Why? I can't explain it, and I don't enjoy rummaging around in the cliches of psychoanalysis.”