Quotes from Terry Southern

In that sense, film is superior, but the difficulty is your lack of control as a writer.

It was a good experience working with Roger Vadim and Jane Fonda.

Grossing Out dealt with the western nations selling arms to the Third World and exploiting these countries.

It's frustrating not to have more control over your material.

When I finally made it to the set, I spent a lot of time doing damage control on The Magic Christian.

Peter Beard is one of those people I've known a long time. We have an affinity. We share certain values.

Sometimes we would be staked out in the middle of the river, several barges tied together. So we could party.

The important thing in writing is the capacity to astonish. Not shock - shock is a worn-out word - but astonish.

For a director and a producer to be named on the writing credits is practically unheard of.

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.

When Kubrick decided to go the black comedy route with his movie, he thought of me to give it that flavor.

You can't do the end of the world in a conventionally dramatic way or Boy Meets Girl way.

There is no power on earth that can loosen a man's grip on his own throat

The important thing in writing is the capacity to astonish. Not shock—shock is a worn-out word—but astonish.

There is no power on earth that can loosen a man's grip on his own throat

Mr. Christian gave his exasperation-sigh and went on with his peach salad, unable to keep his fork from shaking a little, but managing, with certain effort, not to drive it suddenly into his chest.

An angel has no memory.

I think the degree of alienation and despair is more universal.

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.

After Strangelove I also started work on an adaptation of The Collector.

I met The Beatles and Stones at the same time, because Michael Cooper was doing several of their album covers.

David Burnett was the son of Martha Foley, who edited the Best American Short Stories series. She hired me to work with David and her to read stories for the anthology.

In the case of The Loved One, I was hired to collaborate on an updated version of the book.

I like to work at night.