The face of Garbo is an Idea, that of Hepburn an Event.

I can do everything with my language but not with my body. What I hide by my language, my body utters. I can deliberately mold my message, not my voice. By my voice, whatever it says, the other will recognize "that something is wrong with me". I am a liar (by preterition), not an actor. My body is a stubborn child, my language is a very civilized adult...

Is not the most erotic portion of a body where the garment gapes? In perversion (which is the realm of textual pleasure) there are no "erogenous zones" (a foolish expression, besides); it is intermittence, as psychoanalysis has so rightly stated, which is erotic: the intermittence of skin flashing between two articles of clothing (trousers and sweater), between two edges (the open-necked shirt, the glove and the sleeve); it is this flash itself which seduces, or rather: the staging of an appearance-as-disappearance.

Very often (too often in my view) I was aware of being photographed. So, from the moment I feel I am in the camera's eye, everything changes: I begin to pose, I immediately create a different body, I change even before the image.

New York... is a city of geometric heights, a petrified desert of grids and lattices, an inferno of greenish abstraction under a flat sky, a real Metropolis from which man is absent by his very accumulation.

Am I in love? --yes, since I am waiting. The other one never waits. Sometimes I want to play the part of the one who doesn't wait; I try to busy myself elsewhere, to arrive late; but I always lose at this game. Whatever I do, I find myself there, with nothing to do, punctual, even ahead of time. The lover's fatal identity is precisely this: I am the one who waits.