"It's got to be Trans-Europe Express really. I was aware of Autobahn and that was like The Beach Boys from outer space, engineered by Conny Plank - that was what they called it in those days, it was a blur between engineering and producing. I think Trans-Europe Express consolidated that futuristic thing, and of course it had a namecheck for David Bowie and Iggy Pop in there, which was an endorsement in some way. Although they were German, they were aware of 'our world'. I think the only other German thing I'd heard of before that were Faust, and the reason I know about them was they brought an album out [The Faust Tapes] and it cost about 15p or something, so everyone bought it. 'The Hall Of Mirrors' is really dark! The album's quite song-y as well. With The Man-Machine, it had the perfect record cover, it was the whole red-ness. Futuristic art deco with a slight Hitler Youth edge to it, a sinister edge. I went down to London one time, down the King's Road - I think it was the week of release - and every single shop was playing it. However Man-Machine is everybody's album, whereas Trans-Europe Express is a more private album, which wasn't as widely known. I hadn't taken any drugs at the time, but it affected me. That line, ""Even the greatest stars dislike themselves in the looking glass"", it was all just very atmospheric."

"When I’m not making my own movies, I’m usually working on a trailer for someone else’s. Since I was twenty-two years old, I’ve been a professional trailer editor. I began editing trailers for big Hollywood films (I was one of the editors on the trailer campaigns for the Scream movies, The Matrix movies, and a zillion others), but I eventually left that world and turned all my attention to art-house films. In recent years, I’ve had the unbelievable fortune to have created the trailers for several modern masterpieces now enshrined in the Criterion Collection, including Heart of a Dog, The Great Beauty, Yi Yi, Cameraperson, and Like Someone in Love. Another highlight in my trailer career was editing the rerelease trailer for The Battle of Algiers. Not only was there so much incredible material to use, but Pontecorvo’s masterpiece had always been one of my all-time favorites. It’s a huge influence on how I think about filmmaking, from the handheld camera work to its daring and quick editing to its strong use of music (Morricone!) to how Pontecorvo just throws a viewer right into the deep end from the get-go. Also, like the best documentaries (see The Thin Blue Line up the page a bit), it puts the responsibility on the audience to draw its own conclusions. The Criterion disc also includes some amazing extras, including a not bad rerelease trailer. ;)"

"In the recent documentary Gerhard Richter Painting, the painter speaks at length about being a young artist emerging in post–World War II Germany. He says that he always considered painting to be nothing more than a trade that one dedicates oneself to day after day. Working is, above all, very respectable. Perhaps this attitude can be attributed to the fact that postwar Germans were faced with the arduous (but perhaps liberating) task of writing a new history for themselves—trying to come to terms with the past while simultaneously looking toward the future and the endless possibilities therein. With such daunting business at hand, a workhorse spirit would be a must for all German artists. Fassbinder most definitely had that spirit, leaving behind forty feature-length films and playing countless other roles over the course of his short career. Lola alludes to some of these particular pressures and concerns. Lola herself is a woman with a troubled past pressing forward with her life. It is a great, classic story, and a lot can be read into it. But on a purely aesthetic level, Lola is a sumptuous visual journey. So many textures and colors . . . if Zéro de conduite is a Dadaist masterpiece and The Scarlet Empress is expressionism on film, Lola is pure Technicolor pop art, and one of the best late Fassbinder films. Coincidentally, Rainer Werner Fassbinder died the day before I was born."