"“My dad is a big film buff, and he really got my sister and I into films. I go to the cinema at least once a week, but watching the movies my dad introduced me to is like coming home. We try and watch this every Christmas and we always cry our eyes out. We even call our dog Zsu Zsu after the little girl in it.”"

"Thank you, Scorsese and Criterion, for this world cinema collection. On the headstock of my guitar is the name of the band Nass El Ghiwane. I have heard about Trances for years, and finally now I have been able to see it . . . and snuck into the experience was The Housekeeper, which helped me grasp the manipulations of individuals in my tangible life, creeping me the fuck out."

"I fell in love with Lola when I was twelve. I fell in love with Anouk Aimée, with all the characters, with Nantes, with Jacques Demy, with cinema. Lola isn’t anything much, just a woman who walks the streets of a ghost town. But that walk speaks of beauty, and the end of beauty. That walk says everything about the vain effort of filming."

"The ending takes a concern at the heart of cinema—the relationship between the real world and the director impulse—and turns it into a self-aware narrative climax, which opens the iris of the film dramatically. This is moving, strange, captivating stuff. Like an old friend once told me, in order for an organism to grow, it must be aware that it is alive."