"While it is sad to consider how young Vigo was when he passed away and to think of all the great films he never had a chance to make, it is amazing to think how we continue to remember this artist’s small body of work with such great admiration. This is a real testament to the power of his one full-length feature film, L’Atalante—a film that documents the early days of a newlywed couple who operate a canal barge. When I saw this for the first time, I was reminded of what it was like to see Citizen Kane for the first time: that sudden, startling feeling that you are watching something so far ahead of its time that it feels oddly out of place."

"As an anticolonialism fable it’s extremely on the nose, but whatever. Guys, just . . . Colonialism: Don’t Do It. What is totally unforgettable about this film is the photography: constant fogs, blooming white surfaces, and inky jungle shadows. There’s a shot of the hero and the Panther Woman reflected in a pool of rippling water, then her real foot dips into the frame—it makes me gasp. There’s Bela Lugosi’s imperious, rabbinical presence as the Sayer of the Law. And most importantly, there’s Charles Laughton, obviously delighting in the role, giving the British scientist/eugenicist a sadistic perviness that I’m sure wasn’t in the script. In one moment, in the midst of threatening the hero, he just sprawls his whole body across a table, like a happy fat cat."

"“​What I’ve really got to learn is to accept the mediocrity and the lies that surround me. The poor political responsibility of those around me​.” Valie Export is one of my favourite artists and celebrated her 80th birthday quite recently. The film follows an investigative female journalist trying to bring justice to the corrupt world she finds herself in through two oscillating relationships. The heroine is in pursuit for nothing but the truth. Video control and surveillance in striptease places, subway stations and street traffic are important for the structure of the film. At large, the experimental plot interrogates the body, identity, and dynamics of power, it questions the overwhelming social gazes placed on women. One day I would like to remake the film."

"It’s a two-disc of live performances. For the most part, I was never really a fan of live music on records, but this one takes all the Talking Heads songs and it totally improves them. You feel the beat more. It’s a solid buy. If you could just come up on that, the two discs are amazing. It’s almost 40 songs. Every single one of them is really rad. A lot of my music that I like puts energy in your body or makes you want to dance or break something or just go mosh or jump around. This is one of those ones that you can put on in the summertime and next thing you know, you’re dancing by the pool."

"The structure of 'Let There Be More Light' is not conventional. It goes through different things - you think it's going to go one and it goes the other. But much more than this record, before Bill and I started playing together in Body/Head, I found this 1968 live footage of Pink Floyd on YouTube. They were playing and it was almost like people were dancing to abstract music. There were visuals and it was amazing. In 1968, they were doing stuff that we're just doing now. Syd Barrett was sitting down and playing prepared guitar, like Bill does when he does his solo stuff - and other people who play prepared guitars do. That was all really inspiring, originally to the band, I think"