"Alan Price is definitely someone my parents introduced me to, it's one of those stories like, "Your father took me out on a date to O Lucky Man! and I knew he was cool", but then in high school I had the required Malcolm McDowell obsession - all rebellious and of course once you've watched Clockwork Orange you've got to go back to if...., and I'm pretty sure that O Lucky Man! is the continuation of the same character from if.... and it's just one of those great modern fables. I'm surprised people aren't as into it. If you watch that opening scene in black and white, it's kind of the same over the top kangaroo court scene that we were trying to get in the Break Line song 'I'm To Blame'. The silent scene in the movie is brutal but it's also ridiculous and over the top. Malcolm McDowell has a giant moustache, he's like a South American coffee picker - he's caught stealing coffee beans and they go to his trial and this disgusting judge smoking a cigar, drooling, sentences him to getting his hands chopped off; it's very extreme and it just flashes "GUILTY. GUILTY. GUILTY" and we do that in our song with everyone saying "guilty", it's a little O Lucky Man! homage. The line in that song, "In case of murder in the second degree/ The jury now all agrees guilty/ So you will hang, hang by the noose" and my friend's dad said you don't get hanged for murder in the second degree, but we need that "murder in the second de-gree", that extra syllable!"

"What a surprise! Actually a movie about people! No special effects, no super heroes, no gunfights; just a riveting two hours and 15 minutes about some human beings you can recognize as real, going through the agonizing upheavals of a marriage that is no longer working, and therefore facing the daunting, heartbreaking throes of divorce. That’s Noah Baumbach’s new picture, “Marriage Story,” and it is right up there with the best of this exceptional director-writer’s finest work, thus only confirming my long-held opinion that Baumbach is vividly among the top picture-makers of his generation. It is a joy to see and hear actors speaking dialogue that is superbly crafted and profoundly believable. And to watch a film during which the camera is always in the right place for the actors to shine and the scenes to play most effectively for the audience. All this talented and insightful direction, of course, results in brilliant performances. If there is a more nakedly affecting and moving turn by an actor than Adam Driver’s here, I certainly haven’t seen it. He’s always good, but this is truly striking, vividly touching, and simply as good as it gets in modern pictures. I always enjoy Scarlett Johansson’s work, and she certainly doesn’t disappoint here. And Alan Alda’s aging character is memorably drawn. Like so much of the best American movies, Baumbach’s work here is both deeply personal (though not autobiographical) and at the same time quite clearly universal. I really hope that this picture is successful enough to encourage other filmmakers to bring real people to the screen, and to tell stories that resonate with reality."