[Albert Camus] always held a profound commitment [engagement], a real resistance to all totalitarianism.

The Outsider isn't [Albert] Camus, but in The Outsider there are parts of Camus. There's this impression of exile.

Of course, [Albert Camus] wasn't an existentialist, but he was a committed man. He was a man of combat. It wasn't for nothing that he directed the Resistance journal called Combat.

I think for [Albert] Camus his mother was more than just that. She's love, absolute love. That's why it's written for her, dedicated to 'you who will never be able to read this book'.

I think [Albert] Camus felt very solitary. You can see it in all his books.

I think for an artist what is most important is to touch as many hearts as possible.

[Albert Camus] was completely intransigent, and that's not at all a neutrality. It's combat, it's a man who involved himself, committed himself.

[Albert Camus] is The First Man because he is poor, which has never been much to human beings.

Where [Albert Camus] is in exile isn't especially in Paris or elsewhere, but from the intellectual world, because of his origins.

It's true that women appear very little in [Albert Camus] works. They have a very marginal place.

French intellectuals are mostly petit bourgeois, and it's hard to say whether that makes [Albert] Camus' work more valuable.

Relationships should be like flat pack come with easy to follow instructions so that you knew which bits fitted where

What an idiot I'd been. What a spoilt brat. What a bloody fool.

My dad used to say that living with regrets was like driving a car that only moved in reverse.

In a mad world, only the mad are sane. - AKIRA KUROSAWA

But how can we know that dragons did not exist? We have never actually BEEN to the Dark Ages.

Never be afraid to chase your dream at any age.

We all stick up for ourselves and I think that's why we stand out, because we really don't care what other people think.

There are just certain realities about our world and I just happen to be creative within it.

When you are on stage in front of an audience, you want to engage the entire crowd. If a thousand people are in the theater, you need to dance a thousand different ways, not one-thousandth of a way.

Do more than believe: practice.