My childhood wasn't full of wonderful culinary memories.

Now the restaurants have begun to catch up with the wine-making; there are numerous great restaurants in Napa Valley, and it's wonderful because the people are there for just that: great food and great wine.

Some of the recipes in the book have evolved for us. Many haven't.

I like to drink young wines, wines which are robust and have a lot of forward fruit to them.

You're getting to know who the great chefs are through their books.

Once you understand the foundations of cooking - whatever kind you like, whether it's French or Italian or Japanese - you really don't need a cookbook anymore.

We go through our careers and things happen to us. Those experiences made me what I am.

Let's face it: if you and I have the same capabilities, the same energy, the same staff, if the only thing that's different between you and me is the products we can get, and I can get a better product than you, I'm going to be a better chef.

My childhood wasn't full of wonderful culinary memories.

Then, as the day progresses, depending on how the product is coming in - for instance, the fish man will fax us and say black bass is great - throughout the day, we'll also make judgment calls and adapt to what's available.

I hope the cooks who are working for me now are getting that kind of experience so they can use what they're learning now as a foundation for a great career.

It's one thing you aspire to: someday, you'll be able to write a book.

Your idea of that dish has evolved, and if you're a cook, you can start thinking in different ways about it, maybe even a different way than I think about it.

Food should be fun.

But once in a while you might see me at In and Out Burger; they make the best fast food hamburgers around.

In any restaurant of this caliber, the chefs are in the same position, building relationships.

My favorite wines are Zinfandels.

I drank more wine when I wasn't working as much, to be honest.

The law of diminishing returns is something I really believe in.

I think every young cook wants to write a book.

Hopefully, imparting what's important to me, respect for the food and that information about the purveyors, people will realize that for a restaurant to be good, so many pieces have to come together.

They know what my standards are. They know what I need and how to get it to me, and they know how to communicate with me if for some reason they can't get it.

A kaiseki meal is like that, very small courses over a long period of time.

When I go out to eat, it's usually something moderate in style.

We rely on our purveyors to tell us what's available and what's good.

Whether it's destiny or fate or whatever, I don't think I could do a French Laundry anywhere else.

It wasn't about mechanics; it was about a feeling, wanting to give someone something, which in turn was really gratifying. That really resonated for me.

I have no formal culinary training, right.

I wanted to learn everything I could about what it takes to be a great chef. It was a turning point for me.

No, it's funny, when I eat out it's not typically in the kind of restaurants people might imagine.

I wanted to write about what we were doing at the French Laundry, the recipes and the stories.

The book is there for inspiration and as a foundation, the fundamentals on which to build.

In any restaurant of this caliber the chefs are in the same position building relationships.

Youre getting to know who the great chefs are through their books.

Once you understand the foundations of cooking whatever kind you like whether its French or Italian or Japanese you really dont need a cookbook anymore.

You have to be driven. You have to be focused. You have to be aware.

A recipe has no soul. You as the cook must bring soul to the recipe.

A sister is a little bit of childhood that can never be lost.

A lot of people have gotten into comedy because of certain influences in their lives or events that were painful, and I really have wracked my brain to figure it out. I pretty much have had a normal childhood. Maybe it was too normal.

It sounds ideal, a sort of beach childhood. But it wasn't really. I didn't use the beach very much at all.

All our pursuits, from childhood to manhood, are only trifles of different sorts and sizes, proportioned to our years and views.

The secret of the truly successful, I believe, is that they learned very early in life how not to be busy. They saw through that adage, repeated to me so often in childhood, that anything worth doing is worth doing well.

I don't carry any early childhood trauma around with me, if that's what you're hinting at. The story of the bicycles - and there were three of them which were stolen from me - I've dealt with it well.

Remember Graham Green's dictum that childhood is the bank balance of the writer? I think that all writers feel alienated. Most of us go back to an alienated childhood in some way or another. I know that I do.

Hors d'oeuvres have always a pathetic interest for me; they remind me of one's childhood that one goes through wondering what the next course is going to be like - and during the rest of the menu one wishes one had eaten more of the hors d'oeuvres.

Arguably, no artist grows up: If he sheds the perceptions of childhood, he ceases being an artist.

Everything I write comes from my childhood in one way or another. I am forever drawing on the sense of mystery and wonder and possibility that pervaded that time of my life.

Well I was an asthmatic child. So that for most of my childhood I was in bed. Bedridden.

Happy, happy Christmas, that can win us back to the delusions of our childhood days, recall to the old man the pleasures of his youth, and transport the traveler back to his own fireside and quiet home!