The art cars are the public transportation system. And that requires regulation because, lately, we've had art cars that don't want people on board and that want private parties, and that's in conflict with the communitarian feeling and the interactive aspect of society.

It avoids a self-conscious relationship to the act. We live in the most self-conscious society in the history of mankind. There are good things in that, but there are also terrible things. The worst of it is, that we find it hard to give ourselves to the cultural process.

We take people to the threshold of religion. Our aim is to induce immediate experience that is beyond the odd, beyond the strange, and beyond the weird. It verges on the wholly other.

They become the keepers of the mystery. They place themselves between the communicants of the religion, and the immediate experience. And then they dictate the terms on which you can have contact with this wonderful mystery. We don't dictate those terms.

I drove 3,500 miles this summer on our family holiday, we drove across 10 countries. I have driven across the United States four times. I love cars, I love being in cars, I think so do most people. I want to help and support those people who have that same kind of enthusiasm for driving that I have.

But the way that we've got it organized in our family, we try not to work at the same time, so I'm just now starting to look around. I think I'd like to do a film.

Giving women education, work, the ability to control their own income, inherit and own property, benefits the society. If a woman is empowered, her children and her family will be better off. If families prosper, the village prospers, and eventually so does the whole country.

Mama, you know, poor baby, she'd had her family all finished: four daughters and a couple of sons, and suddenly, I arrived in her midlife on Christmas Eve 1922.