Since it's based on my parents, it's more emotionally close to me than some of my more surreal plays. And then I like the balance of the comic and the sad. It should play as funny, but you should care about the characters and feel sad for them.

I find L.A. kind of romantic, actually. As a movie junkie, it's a city that was built by the movies. There's something really weird and surreal about it that I find energizing.

Surrealism was necessary - essential, even - in the 1920s to bridge the gap between rationalism and the subconscious. It started something important. But by the early '60s, it had become petit-bourgeois; it was too intellectual and romantic, and had ground to a halt. It had become respectable.

I was influenced by surrealist poetry and painting as were thousands of other people, and it seems to me to have become a part of the way I write, but it's not.

Surrealism is not a poetry but a poetics, and even more, and more decisively, a world vision.

I don't love horror movies with something surreal happening. That doesn't work for me. What's terrifying is something that could actually happen to me and what I would do. I don't know how to throw a punch, and I've never had to do it.

The violent quarrel between the abstractionists and the surrealists seems to me quite unnecessary. All good art has contained both abstract and surrealist elements, just as it has contained both classical and romantic elements - order and surprise, intellect and imagination, conscious and unconscious.

'Northern Exposure.' I loved that show; I loved the way it was able to have episodes where somebody finds a woolly mammoth, he calls the museum in New York, they send a guy out, and the mammoth's gone because someone ate it. To me, that was everything I ever wanted to do. That show mixed emotion, humor and the surreal all at once.

I love British humor. It's just so - surreal.

My dad's sense of humor was direct and sometimes surreal - his quick wit is well known amongst our family and friends. He raised me on Spike Jones records and W.C. Fields movies, and his sense of humor fell somewhere in between.

I think I was the only person in my experimental film class doing comedy. But my sense of humor and a lot of comedy that I love is quite surreal and strange, you know? You could argue that 'Monty Python' is experimental film. It just happens to be really funny.

Absurdity is my favorite brand of humor because deep down inside, in our subconscious, it's all surrealism. It's all abstract. The world is the surrealism, the absurdity, the humor - it all just overlaps.

I've gotten to travel all over the world and meet all kinds of people and do all kinds of great things, so it's, like, surreal. It just lets you know how time flies, especially when you're having fun. It seems like time keeps going by faster as I get older.

I know I have this level of celebrity, of fame, international, national, whatever you want to call it, but it's a pretty surreal thing to think sometimes that you're in the middle of another famous person's life and you think to yourself, 'How the hell did I get famous? What is this some weird club that we're in?'

When I won in 2003, never in my wildest dreams did I ever think I would win Wimbledon and have my kids seeing me lift the trophy, so this is pretty surreal. And yeah, I was almost shocked in the moment that it all came together so nicely.

They thought I was a Surrealist, but I wasn't. I never painted dreams. I painted my own reality.

The New Zealand sense of humor is tough and realistic. Jokes are not surreal; they are about life and death and tough decisions.

It's surreal to think that I own this beautiful island. It doesn't feel like anyone can own Lanai. What it feels like to me is this really cool 21st-century engineering project, where I get to work with the people of Lanai to create a prosperous and sustainable Eden in the Pacific.

There's something very surreal about driving a truck, looking in the rearview mirror, and seeing 20 cop cars behind you. Even though you know, 'We're just shooting. This is just a scene; we're making a movie here,' it's very unsettling.

Funny story: I was hanging out with Adam Shankman for Samantha Ronson's birthday, and Lance Bass was there. I don't really know Lance, but he comes over to me and goes, 'Hey, I just wanted to let you know I'm a fan of 'Pretty Little Liars' and I'm rooting for your character.' It was surreal! That's how 'PLL' has changed my life.

The past itself, as historical change continues to accelerate, has become the most surreal of subjects - making it possible... to see a new beauty in what is vanishing.

Fame and stuff like that is all very cool, but at the end of the day, we're all human beings. Although what I do is incredibly surreal and fun and amazing and I'm really grateful for it, I don't believe my own press release, do you know what I mean?

There were a lot of surreal, amazing moments during my career that I'm very lucky to have had.

Equally, the surrealists consider words as witnesses of life acting in a direct way in human affairs. To use words properly it was necessary to treat them with respect, for they were the intermediaries between oneself and the rest of creation. To abuse them was immediately to set oneself adrift from true being. Words need to be coaxed to reveal a little of their true nature, so as to close the breach that exists between the writer and the universe. The world is not something alien against which man is in conflict. Rather man and cosmos exist in reciprocal motion. We are not cast adrift in an alien or meaningless environment. The universe is intimate with us and, as Breton insisted, it is a cryptogram to be deciphered.