It was a very important finding for us because we were involved in nucleic acids. There weren’t many people interested in nucleic acids. There weren’t many people who believed that was the way to find drugs. But when we found out the structure, and we began to understand what kind of bases could be incorporated, and which ones couldn’t, and where they could be incorporated, it put a whole new dimension on it. So it had a very significant effect.

Yes, the Kuleshov effect. When you place one image next to another, meaning emerges. If you change one image, the meaning changes. They are these psychological landscapes that are being painted. So I find this technique and the various ways that montages can be assembled extremely helpful.

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

Vodka.

Yes, well, that’s the reason that I don’t want to be in New York any longer. I don’t want to go to parties any more. There are no familiar faces anymore. You know, you go to a party and you hone in on the couple people you know. There are none of those people for me at parties any more. I’ve lost my sister, my brother, my editor, my publisher. It’s a whole generation gone by. Old war buddies of mine, my colleagues, my family.

Well, again, getting back to Nietzsche’s statement, as a person of deep faith, I obviously believe in something in the end. I don’t know what it is, but it’s a great big something.

I would try to write my war story, whether it was interesting or not, and try to make something out of it. I describe that process a little in the beginning of Slaughterhouse Five; I saw it as starring John Wayne and Frank Sinatra. Finally, a girl called Mary O’Hare, the wife of a friend of mine who’d been there with me, said, “You were just children then. It’s not fair to pretend that you were men like Wayne and Sinatra, and it’s not fair to future generations, because you’re going to make war look good.” That was a very important clue to me.

I was the third Saab dealer in the United States — you could have a dealership just by asking for one. Had to put up my own money for five cars. Terrible car then, may I say.

I was going to be a journalist. But after the war I studied anthropology, just in order to become educated. I thought it was worth knowing the science of man. I still intended to become a journalist, but there were no jobs, because the reporters who had gone to war were coming back and were entitled to their jobs, and the women who had replaced them were damned if they’d leave, and they shouldn’t have left.

Bad things happening to my children and grandchildren.