After the disastrous concert of Miami, the magazine Rolling Stone made its cover on the face of Jim in the style Wanted western, while more or less making him in an article a stupid drunkard. I thought that if it had played this part at a certain time, it was also somebody of intelligent, an aspect on which one had voluntarily closed the eyes. Jerry hopkins suggested in Jann Wenner going to interview in-depth Jim. Initially reticent with the idea to grant a new interview, Jim changed finally opinion, and they met several times over one two weeks period, around a lunch or glass, or between two visits with its bar topless preferred. With each time, it was shown quite high, attentive and expressed a great ease to be expressed. Obviously, was said Jerry Hopkins, it held so that the preceding report is forgotten. The interview appeared in Rolling Stone, and was included later in a great volume now exhausted, which gathered the great interviews of the magazine.

Jerry Hopkins : The week when I was going to interview Jim Morrison, Doors saw prohibited concerts with Saint Louis and Honolulu because of the charges of exhibitionnism and alcoholism retained against Morrison with the lawsuit of Miami. This same week, however, Morrison completed the writing of a scenario with Michael McClure and signed a contract with Simon & Shuster for its first collection of poems. Contrary to mythology, the music of Doors remained a constant, a force which had not been one so much << influence >> on the rock'n'roll that a monument of the rock'n'roll. << La musique est votre seul amie >>, Jim in When the Music' S Over sang (When the music is finished). And for million people, the music of Doors, it was that. A whole generation was already nostalgic of Light My Fire, as another was it of Sgt.Pepper of Beatles. With the apogee of the group, in 1967-1968, one also smelled in the music of Morrison a shouting urgency. << Nous voulons le monde et nous le voulons maintenant. >>

Morrison was initially reticent, as I said, to grant this interview to Rolling Stone, persuaded that the cover which the magazine had made on the concert of Miami it had made pass for a clown. But it changed opinion, and as the meetings of talks accumulated at the rate/rhythm of the bars where they took place, it showed that its manager Bill Sidons had not been mistaken when it had declared: << Les petits démons de Jim l'ont sans doute perturbé à une période... mais je crois que tout cela est finie maintenant. >> In other terms, Morrison had softened, it had matured. It had however not lost its direction of humour << C'est vraiment une drôle de façon de gagner sa vie, non ? >> he says to me one day, and it wished me now that people take it with the serious one. All the poets want to be taken with the serious one, even if much had a way of acting which seemed to contradict and destroy this wish.

We had been given go to the office of Doors (located remotely ideal at the same time of the offices of Elektra and several clubs topless) and the first meeting of maintenance took place in a bar, Palms. We wanted to lunch and take a beer, but the cook missing for the day, we had to satisfy us with a beer. A small group of accustomed distributed along the counter offered glasses bruyamment while joking, while we take seat with a small very close table. Nobody expressed a detailed attention with Morrison when it entered the bar, and beard it provided that it had been let push from Miami did not have nothing to do there. It one was accustomed of Palms, him too.

How to you the idea had just made this trade?

Jim Morrison : I believe that I had the major desire to make this trade the day when I heard... you see, the birth of the rock'n'roll coincided with my adolescence, with my reveil with the conscience. Ca really connected me, even if at the time I never allowed myself of fantasmer rationally that I shoed myself of it. So that when all that arrived, my subconscious had already very prepared. In fact, I did not think of it. It arrived, it is all. I had never sung. I did not even design the thing. I thought that I would become writers or sociologist, or whom I would write of the parts. I had never gone to a concert, or one or two, at most. I had seen tricks with tele, but I did not adhere to all that. And then, I heard a whole concert in my head, with a group which sang and a public, an important public. These five or the first six songs which I wrote, I took of the notes, it is all, during the fantastic concert of rock'n'roll which I had in the head. Once these songs transposed on paper, it any more but did not remain me to sing them.

It was when all that?

Jim Morrison : Approximately three years ago. I was in a group nor nothing. I had just left the university, and I trotted myself on the beach. I did not make large-thing. I was free for the first time. I had had to go to the school without interruption during fifteen years. It was a hot and splendid summer, and I started to hear songs. I believe that I always have the notebook where I wrote the words. This mythical concert that I heard... I would like to try to reproduce it one day, on scene or a disc. I would like to be able to return what I heard on the beach this day.

Had you played of a musical instrument before that?

Jim Morrison : When I was kid, I tested the piano during a time, but I was not disciplined enough for that.

How long did you take lessons?

Jim Morrison : A few months only. Hardly time to acquire the bases.

You do not want any more to play of an instrument today?

Jim Morrison : Not, not really. I play of the maracas. I can also play some songs with the piano. Tricks of my invention, but it is not really of the music. It is noise. If, there is a song which I can play, but there are only two agreements, it is rather limited like trick. I would really like to be able to play of the guitar, but I do not have the gift for that. [ It marks a time of pause. ] And you, you cheeks of an instrument?

Not...

Jim Morrison : I read a book which you wrote, The Hippie Papers. There were very good things inside. I thought a time to write for the press << underground >>, because that appeared the only place to me where one could have an idea and to see it printing immediately. I would have liked to have a heading in a newspaper << underground >>. Just to tell the things which I saw. Not to make fiction, nor report. Just to tell with precision a thing of which I would have been the witness, in particular around Los Angeles. I believe that I am afraid to waste my best ideas in journalism. If I preserve them in my head sufficiently a long time, it may be that they give one day something. I however recognize that there are heaps of talented people which one write for the newspapers, Dickens, Dostoïevski... and nearer to us [ Norman ] Mailer, of course.

Mailer even ended up writing a novel in this way, by publishing a chapter per month in Esquire...

Jim Morrison : And it is brilliant. The American Dream (An American Dream). Undoubtedly one of the best novels of the decade.

It is interesting... There are heaps of valid things designed specifically for the newspapers and the magazines, just like there is good music conceived for the disc, in both cases, they are things available that each one can get for very little money, and later to throw or exchange or at least which one can get rid quickly. That made the several shapes of art of the very transitory things...

Jim Morrison : This is why poetry attracts me so much, it is so eternal. As a long time as there will be people, one will remember the words and their associations. Nothing other can survive a holocaust apart from poetry and of the songs. Nobody can remember a novel in entirety. Nobody can describe a film, a sculpture, a painting. As a long time as there will be people, poetry and the songs will continue to exist.

When did you start to write poetry?

Jim Morrison : Oh! I was still with the college when I wrote a poem entitled The Pony Express. It is the first which I am able to remember me. It was a poem in the ballade kind. But that did not hold really upright. I always wanted to write, but I thought that that would not be good unless the hand does not take the pen suddenly and does not start to write without I having anything to see with the process. Like the automatic writing. But that never arrived to me. I nevertheless wrote some poems, well on. Like Horse Latitudes, which I wrote when I was at the university. I preserved several notebooks at the college and the university, and when I left the school for I do not know which reason, it was can be wise, I all threw them. There is not only I currently have apart from these both or three stray notebooks. I thought one moment to make me hypnotize or to take penthotal to point out these poems to me, because I wrote in these notebooks every evening. But can be that if I had not thrown them, I could never have written anything of original, because it acted of an accumulation of things which I had read or heard, like quotations extracted from unquestionable book. I think that if I had not gotten rid any, never I could not have been free.

Are there songs which you like more than others?

Jim Morrison : I will say you the truth, I them listenings not much. But there are nevertheless songs that, personally, I like to begin again more than others. I like to sing blues, these long drifts blues where one has no constraint, where there is no really beginning nor of end. I am in a rut, you see, I enroutine and I can invent unceasingly. And everyone is in solo. I like to make this kind of things rather than a song. You see, one starts on a blues and one sees where that carries out us...

Impromptu drifts...

Jim Morrison : Ouais. One needed another song for this album. One dug the brain to try to find something. One was in studio, and then one started to drop all these old songs. Drifts blues. Traditional rock'n'roll. One started to play, it is all, like that during one hour, and one passed by all the history of the music rock'n'roll, the blues initially, then the rock'n'roll, of the music << surf >>, latino, all the bazaar. I called this piece: Rock'n'roll Is Dead (the rock'n'roll died). But I doubt that somebody never hears it a day.

You recently were quoted saying that the rock'n'roll had died. Is this something which you believe deeply?

Jim Morrison : It is as that of which have spoke a few moments ago when one evoked the return towards the roots. The initial flash died out. The thing that they call rock'n'roll, which one called rock'n'roll, it was in decline. And then, there was a revival of the rock'n'roll which incarnated by the English. It went very far. That had really a smell. And then it became timid, and that, it is the death of all the movements. There was no more the initial dash, the spiral was reversed, they were almost incestueux. Energy was not there any more. One did not believe in it any more. I believe that so that each generation can continue like a conscious entity human, it is necessary that it breaks with the past, and the kids who will come will not have much any more in common with us. They will create their own sound, and it will be single. But one will always speak there things like the monetary war or cycles. One can perhaps explain the rock'n'roll by... It was after the end of the war of Korea... there was a psychic species of purging. One would have said that the need was felt an underground explosion, like an eruption. Then, it is possible that when the war of Vietnam ends, that will take surely one or two years still, it is difficult to say, but it is possible that at the time when all these deaths will end, the life will again feel the need to continue, to find a new way.

Do you believe that you will have a role to play in this new departure?

Jim Morrison : Ouais, but I will probably do something of other by then. What, it is difficult to say. Perhaps that I will have become a businessman...

Did you already think in this role, seriously?

Jim Morrison : I like enough this image. Large office. Secretaries...

How do you consider you? Like a poet? A rock'n'roll star? What?

Jim Morrison : I do not have retreat on the question, I am satisfied to read what one of known as. I like enough to do that. It is the only time where I question myself a little. To live with L.A., that does not count much. It is an anonymous city, and I carry out an anonymous life to it. Our group is not all the same the phenomenon of mass that some, in addition, could incarnate. We were never adulated by the masses. That thus does not have me affected in addition to measurement. I believe that I see myself as a conscious artist who works hard day after day, assimilating information. I would also like to make theatre. It is a thing which interests me in this moment. Although I always have as much pleasure to sing.

A question which one had to ask you already, and even an incalculable number of times: do you believe to have a political role? I return you to a statement which you made, in which you appear Doors with << politiciens de l'érotique >>.

Jim Morrison : I became aware of the existence of the national press while growing. I had the impression to meet her everywhere, and I started to read it. I integrated gradually, simply by osmosis, his style, his approach of reality. When I started to make music, I found interesting to occupy a space in this world, and I started to turn of the keys and I realized that I could make that instinctively. They wanted sentences easy to retain and be able to captivate the attention with them, something on what to base an article and to give an immediate answer. It is the kind of quotation which means really something, but it is impossible to explain what. If I put myself, to explain what I understand by there, the words would lose of their force and their impact.

A handling deliberated on the media, not? Two questions come me to mind: Why to have chosen this sentence rather than another? And do you believe that it is easy to handle the media?

Jim Morrison : I do not know if it is easy, because that can be turned over against you. But it is a journalist, you see. I simply answered his question. Since, heaps of people took it again, this formula, and weight gave him, but in fact, I was only... I knew that the type would use it, and I knew which image it would leave all that. I knew that a key sentence, it is all that one in general retains of an article. Then, I found this formula which strikes imagination. I believe that it is more difficult to handle the tele one or the films that the press. In a certain way, with the press, that was easy for me, because there is a party taken of writing here and that I include/understand the writing and the spirit of the writers. One uses the same medium, the printed word. The task was thus easy for me. But for television and the cinema, it is another thing, and I still learn. Each time I turn over on a plate of television, I am slackened a little bit more and of advantage able to communicate openly, to also control what I say. The process is interesting.

Is this that which explains your fascination for films?

Jim Morrison : The films interest me because they are the approximations most exact that we have on the artistic level of our current of conscience, of our oneiric life as much as our daily perception of the world.

The films seem to take tone time more and more...

Jim Morrison : Ouais, but us finished only one of them up to that point, Feast Of Friends (Feast of friends), which was carried out at the end of a cultural and spiritual rebirth, a rebirth which already found its term. It was a little as at the end of the plague in Europe which decimated half of the population. People danced, wore coloured clothing. One incredible spring. All that will occur again, but it is finished for the moment. The film testifies to that.

I think of a sequence of this film, a sequence where one sees you on scene, lying on the back, continuing to sing... that shows at which point your stage business is theatrical. How did this aspect develop? Was this something of conscious?

Jim Morrison : I believe that in a club, this kind of dramatic attitude would be one can moved, because one is with narrow and that all that appears a little grotesque. In the case in a great concert, I believe that it is... necessary, quite simply, because one is located well beyond the musical performance. The concert becomes a spectacle. And it is different each time. I do not believe that no spectacle is identical to another. I do not know how to answer your question. I am not really conscious of what arrives. I do not like to be too objective on the question. I like to let the things arrive, to consciously perhaps direct them, to a certain extent, but especially to follow the vibrations which I feel in each circumstance. These theatrical attitudes are not envisaged. In truth, one know hardly most of the time which act one plays.

When you said that there were certain songs which you preferred, those which allow you to improvise, I imagine that you thought of songs like The End (end) or When the Music' S Over (When the music is finished)...

Jim Morrison : Once that they are recorded on disc, these songs appears very ritualized and static. They was songs made to change form constantly, and once engraved, they solidified in a certain manner. But they had also reached the maximum effect, so that it is not very important. Not... I thought of songs where the musicians start to make an ox, of improvising. That starts with a small rate/rhythm, and you never know where all that you will carry out or that about which it all is really, until the piece is completed. It is that which I like more.

Es you conscious of a difference, at the time when you write, between a poem, intended to be printed, and a song, or the words of a song, made to be sung?

Jim Morrison : For me, a song, that come initially with the music, the sound or the rate/rhythm, and then I write as quickly as I can to remain faithful to the musical impression, until music and words spout out simultaneously. In the case of a poem, the music is not necessary...

It is however necessary to have the direction of the rate/rhythm, not?...

Jim Morrison : It is true. It is true. It is necessary to have the direction of the rate/rhythm, and, in this direction, it is necessary to have in oneself the music. But a song is more primitive. Generally, it acts of a rate/rhythm, an elementary measurement, whereas the poem can go where it wants.

Who suggests these words which you hear when you write? The group? Or does it act of something which you have in the head?

Jim Morrison : Eh well, the majority of the song that I wrote came to me like that. I am not a very prolific author. The majority of these songs, I wrote them three years ago surroundings. It is only one period when I wrote many songs.

In the first three albums, the writing of all the songs is carried to the credit of Doors, not of a particular individual. But I believe it that in the next album, a list will mention different the author. Why?

Jim Morrison : At the beginning, I wrote the majority of the songs, the words and the music. With each new album, Robby (Krieger) contributed of advantage to all that. Until finally the credit of the songs returns as much to the one as the other has. For much of songs at the beginning, Robby and me, one arrived with a simple idea, text and melody. The piece evolved/moved in fact with the liking of arrangements which one brought evening after evening, day after day, in repetitions or in the clubs. When we started to give concerts, to make discs, when we were bound by contract to make all these albums, all these 45 turns every six months, this natural, generative, spontaneous process were not likely least any more to exist. In fact, we came from there to create songs in studio. Robby and me let us arrive now with a complete song in our head, arrangement included/understood, instead of letting the things mature slowly.

Do you believe that your work suffered much from this situation?

Jim Morrison : Ouais. If we made only discs, that would still go. But we make a heap of tricks moreover, so that one does not have any more time to let the things take form as they should. Our first album, that many people appreciate, has a certain unit of tone and atmosphere, because it was the first album which one recorded. And one did it in two weeks. It is all that that took. But we had played all these songs during almost a year in clubs, each evening. We were full with freshness, energy, we were plain.

It was at Elektra, of course. But Doors had signed at Columbia some time before. What did it occur?

Jim Morrison : Eh well, it was right which... at the beginning, I had written some songs and Ray (Manzarek) and his brothers had a group, Rick and the Ravens (Rick and corbels), and they were under contract with World-Pacific. They had tried to leave two 45 turns, but that had not given anything. The contract however obliged them to take up the challenge some additional, and one put oneself together at this time, and one went there and one buckled six faces in three hours. Robby was not yet in the group. But John (Densmore) was with the battery. Ray played of the piano, me, I sang, and his two brothers... there is of them one which played of the toothing-stone, and the other of the guitar. There was also a girl who played the low one, but I do not remember his name.

Then, one found oneself with a matrix out of acetate, and three specimens of the disc, agreement? I carried them everywhere where it was possible to do it... almost all the companies of discs. I was going to see them and I explained to the secretary what brought me. Sometimes, they said to me to leave my number, and other times, they returned me to somebody of other. The traditional reception. At Columbia, they appeared interested. The first nobody whom one meets when one arrives to Columbia, it is the attache with the research and the development of the talent. In fact, the first nobody, it is his secretary.

You speak about Billy James...

Jim Morrison : Ouais, and its secretary is called Joan Wilson. She telephoned a few days to me later, saying that he wanted to speak to us. Columbia signed us a six month old contract, period during which they were to produce several titles. This contract, for us, it was an encouragement to remain together. But nobody seemed to want to occupy itself of us at this time, and we asked to be released from the contract.

Before the six months term?

Jim Morrison : Ouais. It was known that one was on something, and one did not want to find oneself related by a contract to the last moment. Today, it was understood that Columbia would not have been useful our interests. That was a stroke of luck, really. We always had excellent relations with the company where we are today. One works with people really well.

How did this arrive... with Elektra?

Jim Morrison : Elektra at the time had just made its entry on the ground of the rock'n'roll... They had Love, and of the tricks of Butterfield. But Butterfield still made blues and folk. Coil was the first rock'n'roll group of which Elektra was occupied, and the only one to represent a true potential on the level 45 turns. It was especially the album which had gone. After they had signed this contract with Love, the president of the company came to see us playing Whiskey. I believe that it my known as one day that it had not appreciated. The second or the third evening... it returned, and of people convinced it that Doors had a future. Then, it made us sign a contract.

It was said to me, or perhaps I read it some share, that after the episode of Columbia, you were somewhat reticent with the idea to sign with somebody of other.

Jim Morrison : I do not remember it precisely. People say that everyone downtown wanted to make us sign a contract, but it is not true. In fact, it may be well that Jac Holzman was the only one to quote concrete to us. It was done everything so that he returns to see us playing, and the truth, it is that we if were not asked that that.

You said that the first album was done easily...

Jim Morrison : Quickly. One started to record almost at once, and it was enough to very few catches for certain songs. One made several catches simply to be sure that one could not better do. What is true also, it is that they did not want to spend an insane time to produce this first album. the group either besides, because one pays for the production of an album. It is deduced from the royalties. You do not make any benefit as long as the expenses of recording are not refunded. So that the group, as Elektra, took a risk. It thus went very quickly, as much for economic reasons that because we were ready.

Did the following albums pose of advantage of problems?

Jim Morrison : Much more, and they were more expensive. But it is rather natural. It is even inevitable, when one gains a million dollars with each album and the 45 turns which result from this. But it is not always the best means.

You invented yourself a biography formerly, saying that your died parents étaients, however, all the members of your family were indeed in life. Why this history?

Jim Morrison : Simply, I did not want to mingle them with all that. It is rather easy to find details personal when one really holds to with it. When one is born, one takes to us the print of the feet and so on. I said, I believe, that my parents had died a little like a joke. I have a brother, but I have not seen it for one year. I do not see anybody any more. It is more than I ever said some.

To return from there to your film, there are inside some of the most incredible sequences which I ever saw of a public being ruant on a star. What do you feel in situations like these?

Jim Morrison : I my foot it takes is all. [ Laughter. ] In fact, that has the air more exciting that that is not it really. All that takes force in a film. There is all this energy concentrated in small... each time you show reality, that appears increasingly more intense. But sincerely, most of the time, it was really exciting, one really took our foot. In the contrary case, I would not have done all that.

You said the other day that you liked to see people rising of their seat, but which you never created intentionally a situation of chaos...

Jim Morrison : In fact, all that is always controlled, in a certain way. They is plays, what, one has fun. One has fun, the kids have fun, the cops have fun. It is an odd species of triangle. In fact, one thinks of only one thing: to make good music. It arrives qu E I expose myself, that I arrange myself so that people lose one can the head, but in general one restricts oneself to make good music, and it is all.

What wants you to say by << t'exposer >> and << t'arranger pour que les gens perdent un peux la tête >>?

Jim Morrison : Let us say only that I tried to test the limits of reality. I was curious to see who would arrive. That is limited to that: curiosity, it is all.

What do you make to test these limits about which you speak?

Jim Morrison : I am satisfied to push a situation to the extreme.

And at do no time you have the feeling which these things escape to you?

Jim Morrison : Never.

Even in does your film... when one see all these cops projecting in the air above crowd the kids who try to go up on scene? Doesn't that, that represent a certain loss of control?

Jim Morrison : The things should be considered logically. If there no had been cops on the spot, they would have tried to go up on scene? Because what they do make when they arrive there? When they are on the scene, they are absolutely quiet. They do not do anything. Their only reason to attack the scene, it is the barrier which one puts at it. If there were no barrier, there would be no temptation. Here is all history. I really believe it. No temptation, not of rush on the scene. Action-reaction. Think of these free concerts in the parks. No the action, not of reaction. No stimulus, not of answer. It is interesting, however, because the kids have finally an occasion to measure themselves with the cops. Look at the cops of now, they walk with their firearms and their uniforms, one takes them for the hard ones in the district, it is the image which they give, and each one wonders what would arrive exactly if it took the desire to him for putting them to the test. What would they make? I believe that it is a good thing which the kids have a chance to go to defy the authority.

There is a certain number of cities... with New Haven, for example, where one stopped you for obscenity. With Phoenix, it was for something of other...

Jim Morrison : I would say that in the majority of the cases, the only time where we have troubles, it is... imagine somebody which saunters in a crammed street and which, without any reason, removes all its clothing and continuous to go... you can do everything as a long time as you are in agreement with the forces of the universe, nature, of the company, or of I do not know too what. If it is in agreement, if it goes, you can do everything. And yet, if, for a reason or another, you am a way different from that from people who surround you, that abruptly made howl the sensitivities. And there is no more no smell to continue to go or to stop. All that, it is right the question of going too much far or not for the others, and, for example, each one is elsewhere this evening and nothing goes as it is necessary. As a long time as the things are assembled and have a bond between them, you can even make a murder.

There is a phase that one allots to you. It was seen printed heaps of time. It starts with: << Rien ne m'intéresse en dehors de la révolte, du désordre, du chaos... >>

Jim Morrison : << Toutes les activités qu paraissent n'avoir aucun sens. >>

Yes, it is that. Is this a new example of handling of the media? Did you leave this sentence only for one journalist?

Jim Morrison : Yes, without any doubt. But it is true, also. Who isn't fascinated by chaos? Eh yes, I am interested by the activities which do not have any significance. I understand by there free activities. Play. An activity which is sufficed for itself. No repercussion. No the motivation. A free activity.... I believe that one should have a national carnival, a little as fatty Tuesday in Rio One should have one week of national hilarity... one forgets his work, his businesses, his discriminations. The authority is forgotten. One week of total freedom. It would be a good beginning. Obviously, the structures of the capacity would not really change. But perhaps that a type in the street, I do not know how they would choose it, randomly, perhaps, would become president. Another would become vice-president. Of other, senators, members of the Congress or supreme Court, police officers. That would last just a week, and all would become again like front. I believe that one needs D something like that. Ouais. A trick in this kind.

That can appear insulting, but I have the feeling to be carried out in boat...

Jim Morrison : A little bit. But, I do not know. People would have to be true at least during a week. And that could help them the remainder of the year. It would be like a ritual. I believe that one needs really something like that.

There are several words which return constantly in the answers that you give. One among have is the word << rituel >>. What does it mean for you?

Jim Morrison : It is a kind of sculpture on the man. In a direction, it is like art, because that gives form to energy, and in a direction it is a habit, a repetition, a sumptuous spectacle which has a direction and returns periodically. And that comes all to impregnate. It is like a play.

Does Y' have a ritual or a direction of the play to which you or Doors have recourse?

Jim Morrison : Ouais, it is a ritual in the sense that we have recourse to the same supports, the same people and same the forms still and always. The music is resolutely a ritual. But I am not sure that it clears up or adds anything to the ritual itself.

Do you see yourself writing other books?

Jim Morrison : It is my greater hope. That was always my dream.

Who gave you the taste of poetry?

Jim Morrison : I believe that it is the same person who learned how to me to speak, to be expressed. Really. I believe that that occurred when I started to speak. Before the event of the language, it is of the order of the touch, the nonverbal communication.

What do you think of the journalists?

Jim Morrison : I could be very well a journalist myself. I believe that the interview is the new form of art. I believe that the car-interview is the gasoline of the creativity. To put to oneself questions and to try to answer it. The writer does anything other but to answer a series of questions never formulated.

You said twice that you thought of succeeding in handling the press. Up to what point is this interview handled?

Jim Morrison : You cannot forget the fact completely that what you say will be printed, and this thought remembers more or less to your spirit. I however tried to forget it.

Does Y' have other things about which you would like to speak?

Jim Morrison : As what... you do want to speak about alcohol? A small dialogue, then. One does not extend. Alcohol in opposition to drug?

O.K. You have the reputation to drink not badly.

Jim Morrison : It is true that I like to drink. And I do not see myself drinking only milk or water or of the Coke. It is waste in my opinion. You need wine or beer to supplement a meal. [ Long silence ]

It is all that you have to say? [ Laughter. ]

Jim Morrison : Soûler... one controls all, up to a certain point. It is a choice, each time that a blow is drunk. It is necessary to make heaps of small choices. It is like... I believe that it is the difference between the suicide and a slow capitulation.

What do you want to say by there?

Jim Morrison : I know anything of it, guy. To side let us take glass.

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