The character of Annie Doultry is plainly a self-portrait of Brando. There are transcripts of conferences he and Cammell had, and Brando did a lot of improvising, playing the Annie Doultry character. Plainly he saw this as a part that he might play in a movie himself.

All his Celtic rogues, epic seers, and Anthony Quinn leanings were swept up in one grand old ham, ... Biographical Dictionary of Film.

For the best part of 100 years, movies made stories about a certain view of love, and it shaped us all, whether we like it or not. Our lessons were about how to look at people of the other sex. How you kiss, what you say. We learned a lot about love from the movies. We've matured a bit, and we can see there's a lot more to love.

I don't look for anyone to say this is a great novel, although I do think it's a fine, fun read. But what I think is most interesting is that the character of Annie is so clearly a portrait of Brando and that so much of him gets into it.

I'd say where he is now he's in a pretty amused state, and I hope he'd look down on it fondly with a smile. Everyone involved has tried to produce the book (Brando and Cammell) would have.

Cammell's, I suppose, was a failed career, ... but it was a good deal more interesting than the careers of many people who were much more successful. He was quite a remarkable man.

It's very tough. The Oscar show is such a machine and such a monster. The host gets his chance up front, and then says less and less as the evening goes on.

It's funny - writing the afterword required a lot of digging and research, and was ultimately harder than editing the actual novel,

It's not profound literature, but it's an adventure story and quite a good adventure story, very unexpected coming from Brando. It tells us a lot about him.

A wireless phone is only as good as the network it's on. You can have the best price plan and the coolest-looking phone, and if it doesn't work for you, what good is that?