I like. . . what I characterize as more built-to-last ideas rather than built-to-flip ideas.
The West didn't see our real situation, and we were blinded by the compliments coming from the Europeans and Americans.
I worked with Mikhail Saakashvili for more than six years. I was his right-hand man. He never accused me of anything during that time. But the minute I switched to the opposition, I was suddenly called a criminal. It was a political maneuver.
I would like to see more control and more criticism coming from Europe. The constant expressions of friendship for former President Eduard Shevardnadze, who made some contribution to German unity, were counterproductive for our country.
We lived in a totalitarian system for more than 70 years, and our views are still under its influence. Many heads of state in the former Soviet republics believe that they must have total power.
[Mikhail] Saakashvili will use all legal and illegal means possible to remain in power. People are being threatened to prevent them from collaborating with the opposition. At the same time, he is terrorizing the business world, which prevents the opposition from gaining any funding.
Our prison in Georgia is a very different place from this prison here in Berlin. The conditions there are inhuman.
Me writing the book and the subsequent interactions that we had were actually the cap on that experience. We were still in this weird purgatory about it when I published the book. When I gave them the galleys and what ensued after that, then I understood a lot more about our relationships and what the experience meant to them. I'd never wanted to know what they thought about it at all.
In France, for example, it is not unusual for a husband to have a wife and a mistress. However, if in addition to these two he's also having a fling with a fringe tootsie, both the wife and the mistress are outraged and the combination lover, husband, and cheat may well wind up with a large French bread knife between his ribs.
I don't like literal spaces, I don't like literal anything. I still like some kind of guess work but some pieces work and they just pop.
Filming in Africa touched something really deep inside of me, really. It changed my matrix, my insides. My blood even feels kinda different. I don't know how to describe it. It's really kind of Eucharistic. I feel like I ate the place and now it's part of my system, part of my being. I'm not claiming that now I know what it's like to be African, but that now I have a deeper understanding of myself.