"Anyway, the next one I have to say is Milestones, and that’s just because of the massive impact it had on me in general and by Robert Kramer and John Douglas. Basically, this movie put within me emotions and memories that I never had, and I was feeling them in the theater as if I had them. There’s a scene where John Douglas is playing – I think he’s playing the saxophone, and the other guy is doing some ceramics, and it’s just such a happy moment, and it’s so small. But in that moment, I’m just with them 100%, and then there’s a birth in the movie, and the birth, you’re feeling elated. Not because it’s a beautiful thing in the world, but because you’re feeling the kind of coming in of a new life as these parents. And there’s just something about the cinematography, the people, and the characters, and the colors of it all. It’s an amazing movie. And I remember watching it being like, “OK, you can do this to an audience.” That was mind-blowing."

"I was a little sceptical at first, because he's so young. The term 'blues' has come to be quite different than what I know as blues in a traditional sense. I've been tagged as this blues-rock guitar player and on more than a tolerable number of occasions I've been accosted by people who say, ""You must listen to this new young guy! A blues player, you won't believe it!"" And usually, no, I don't. 

Quinn Sullivan seems to have what it takes. The 'blues' seems to be rediscovered about every ten years but in this case I think it's well done. It's certainly encouraging. Interpreting the blues in an appealing manner is not so different than attempting to speak a recently-learned foreign language. You can memorise the instruction book but it's the dialect that allows you to enter the society as a true speaker of the language."

"The first time I fell in love. And felt loved in return. Basically, my childhood (with nuances, of course)—I’m sure I am not the only one who was wondering where in my house they had hidden the cameras. Léaud at the top of his game; he did create, with time, his own acting rules, his own school in his mind, and he opened the doors to many other actors and actresses. One never really says, “Léaud is so bad in this or that film.” No. It’s Léaud, that’s it. Plus, you can never think of anyone to replace him. Never. This film clearly does justice to its title. It blows us away. I don’t feel very original when I say that this is the movie that made me want to direct. And that reminds me all the time how much there is still to learn."