1. Karen Butler 'Interview of the week: Christopher Walken', United Press International, 27 February 2003.

2. Jan Moir, The Telegraph, UK, 11 March 2002.

3. William Wolf, 'The Walken Enigma', New York Magazine, June 1981.

4. Chuck Pfeifer and Mark Matousek, "In the Danger Zone: Christopher Walken, Interview Magazine, March 1988.

5. Walken observes: 'The fact is ... I'm going to turn a role a certain color. As a person I have a quality that is eccentric. Whether the part is that way or not, if you get me to play it, it will be.' Scot Haller, 'I Am the Malevolent WASP', Esquire Jan. 1981, pp. 40-6.

6. Haller, 1981.

7. French sociologist, Alain Ehrenberg sums this up rather well in his fascinating book, La Fatigue d'être soi. Dépression et société, Paris: Editions Odile Jacob, 1998, p. 129. The passage (translated by Panopticon) is worth quoting in full:

   Choosing one's life

   The 1970s mark the crossroads during which the idea that each person is the owner of their own life begins to become widespread at a social level. The man of the masses is in the process of becoming his own sovereign. His horizon is the self-management of his life. The notion of the forbidden goes into decline. The normative transformations which began during the 1960s begin to become widespread in everyday practices. There is a decline in the idea which opposes the individual to society, of the individual who has to be confined within disciplinary norms so as to socialise him and to protect society from his excesses.

   In France, May 1968 forms a symbolic point of reference. It marks the acceleration of particular types of moral dynamics operational within French society by making them the subject of political debate. These dynamics became the object of conflicts in the public arena via social movements whose demands centred on everyday practices: equality of rights for women, the right to abortion, divorce by mutual consent, de facto relationships, contraception. The Neuwirth Law on the 'Pill' was passed in 1967. Demands were made, in the street if necessary, for a private freedom which also became the object of confrontations between the Right and the Left and debated in Parliament (before emerging some years later on television shows). A certain way of seeing the rights of private life in terms of individual choice entered into political controversy and debate. On the Left, the notion of the law appeared as a form of domination from which one had to liberate oneself.

   The sovereign man, sufficient unto himself, heralded by Nietzsche is becoming a mass reality. There is nothing above him to tell him what he has to be, because he makes the claim to sole ownership of himself. One sees moral pluralism and non conformity to a unitary norm, the freedom to make one's own rules instead of them being imposed from above. The development of the self has collectively become a personal matter which society must support. A certain type of subject who is less disciplined and less conformist and more 'psychological', namely exhorted to make sense of himself, dominates the landscape.

8. Michelle Perrot, 'Délinquance et système pénitentiaire français au XIXe siècle', Annales, sociétés, civilisations, 30, no1, 1975, p.67.

9. Michel Foucault, 'Rituals of exclusion' in S. Lotringer, ed., Foucault live (interviews, 1961-1984) New York: Semiotext(e), 1996, p. 69. Originally published in English in 1971.

10. For information about the Oscar incident and Sacheen Littlefeather's career to present see Chia Evers 'Sacheen Littlefeather Refuses Brando's Oscar (March 27, 1973)' News of the Odd, Today in Odd History.

11. For comprehensive information, history and photographs relating to the martial art of shuriken-do see Secrets of Shuriken-Do, a site maintained by Jason Wotherspoon.

12. Concerning guns, Walken has this to say: 'Whenever I hold a gun, I want to get it out of my hand as quick as possible.' Chris Nashawaty,'The Greats: Christopher Walken', Entertainment Weekly, 17 March 2000.

Interview with David Leeds: References

1. Editors note: Kinky Friedman is the author of such classic ballads as 'They Ain't Makin' Jews Like Jesus Anymore' and a number of highly original detective novels featuring himself and his friends. For information about his career and works see The Kinky Friedman official site.

2. Editors note: Edward S. Curtis is famous for his immense work photographing the remnants of Native American cultures in the early twentieth century. His work later became controversial as a result of his tendency to reconstruct with varying degrees of accuracy, rather than simply document, what remained of these cultures. See, Anne Makepiece, 'Edward Curtis: Dialogues', American Masters site, 2001-3.

3. Editors note: For information about the Oscar incident and Sacheen Littlefeather's career to present see Chia Evers 'Sacheen Littlefeather Refuses Brando's Oscar (March 27, 1973)' News of the Odd, Today in Odd History.

4. Editors note: Concerning horses, Walken comments: 'I come from New York city. I grew up right in mid town. I don't know anything about horses. I've made some Westerns but my experience with horses has not been good. I'm afraid of them and they don't like me much.' Sleepy Hollow: Behind the Legend, documentary, USA, 1999. Available on the Sleepy Hollow DVD. As for the sun Walken remarks: "I hardly ever go in the sun. I don't like it because it hurts.' Jan Moir, The Telegraph, UK, 11 March 2002. Walken also notes his dislike of guns: 'Whenever I hold a gun, I want to get it out of my hand as quick as possible.' Chris Nashawaty,'The Greats: Christopher Walken', Entertainment Weekly, 17 March 2000.

5. Editors note: For comprehensive information, history and photographs relating to the martial art of shuriken-do see Secrets of Shuriken-Do, a site maintained by Jason Wotherspoon.

6. Editors note: This is confirmed in a 1981 interview with Walken:

   "'We're like ducks, really," says Walken. "We learn by imitating bigger ducks. I think you always begin by imitating someone. The trick is to stop." He willingly admits his admiration for Brando, but he adds James Dean, John Garfield, and Spencer Tracy to the equation. "And the women, too. A man can learn a lot from watching an actress. Somehow that seems like a terrible thing to say. But I learned a lot from Hepburn and Davis and from working with somebody like Irene Worth."'

   Scot Haller, 'I am the malevolent WASP', Esquire Jan. 1981, pp. 40-6