Well, I mean, obviously, as I said, Richard Rodgers, very obviously say, composers like Prokofiev, like Gershwin, all of these, the great musical theater writers. I would add, as melodists, I think if you were talking about the great melodists of the 20th century, I would put Paul McCartney in there. I would definitely put Rodgers. I would definitely put Prokofiev. I’d definitely put Gershwin because he died so young, but definitely would put him there. And those, of course, in the theater side of things, I’d definitely put Hal Prince

Very much, because he’s interested in that same kind of process. Bonnard, Matisse, Indian miniature paintings, which he collected. That’s where the light comes from, a spectral relationship within the painting itself.

Well, there were, you know, several poses that was known for everybody, that is known for certain poses. And to me it was the three-quarter back pose. And it was a very difficult pose to do, to twist your body and to show the small waist and to show at the same time your wide shoulders, your back. And you also see the front and you see the abs and you see the calf and the thighs and all of those things. But it was a difficult pose to do. Very few bodybuilders could master it. I copied basically Reg Park, who was my idol and who won three times the Mr. Universe competition. And he was known for that pose in a kneeling position and in a standing position. And so because he was my idol, I was, you know, absolutely fanatic to copy his poses and then to kind of improve on that. And that's exactly what I did.

One of my mentors, Tom Frank, a professor of law at NYU, he was really instrumental in making me understand that we need to look at the global picture, and we always need to not take anything for granted, but go very much through a process of critical thinking before we formulate our views. So he was, I think, instrumental in shaping my views as to how to pursue my career in the future.

It went from publisher to publisher to publisher. All of them refused it. They gave the same reasons, until a small publisher picked it up. From 1960 to 1963, three years, it didn’t sell 1500 copies. Nobody wanted to read it. It doesn’t matter. I am not here to sell, I’m here to write.

I remember the awakening that occurred in me when I read, for the first time, Franz Kafka. ... That morning I was happy. I wanted to run out and embrace them, all these garbage collectors, because they taught me that there was another world than the world of Kafka, which is absurd and desperate, and despairing.

After the war — I was 15 when I entered the camp, I was 16 when I left it, and all of a sudden you become an orphan and you have no one. I had a little sister and I knew, with my mother the first night, that they were swept away by fire. My older sisters I discovered by accident after the war in Paris, where I was in an orphanage. But to be an orphan — you can become an orphan at 50, you are still an orphan. Very often I think of my father and my mother. At any important moment in my life, they are there, thinking, “What an injustice.”

Sensitivity. Be sensitive in every way possible about everything in life. Be sensitive. Insensitivity brings indifference and nothing is worse than indifference. Indifference makes that person dead before the person dies.