"This is just one of those movies that leaves you feeling queasy all over. Eating Raoul plays on all the stereotypical shock/schlock clichés typical of so-called B culture, which at the time (the early 1980s) was also being probed by Paul Bartel’s fellow Angelenos Mike Kelley and Jim Shaw (and perhaps further up the coast by the Kuchar brothers), who were also fascinated with and inspired by the prudish 1950s. Is there a moral here? Does there need to be? Why, exactly, is this film in the Criterion Collection? All questions better to put out of your mind when you pop it in."

"I've got a great friend, Todd Robinson, who runs a shop called Luna Music in Indianapolis, and we've been on lots of road trips together in America over the years. We both bond over music like this, stuff that has an American alt-psych-folk-rock feel. I find it a really appealing sound, and it's usually lifted by a great voice. Gold Leaves have that with Grant Olsen, who has such a beautiful voice. It's part beautiful, part-weary, part-determined, part-resigned. The music, too, is all a bit casual on the outside, a bit Lee Hazlewood, a bit Scott Walker, a bit melancholy, but it all comes together into something really special. We played this driving down the Pacific Coast Highway. It was perfect.
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"We liked Free – very bluesy, with a lot of soul. There was a time when there was this thing called Freemania, when they were the biggest thing since sliced bread. They were a bit Led Zeppelinish – brilliant musicians, and Paul Rodgers was a white guy who sounded black. They were all great at what they did. This album didn’t influence me so much, but it influenced the band the other guys were in, Sob. They named the band after this album. They were a very bluesy outfit before Paul Quinn and I joined the band and it became Son of a Bitch, then Saxon – our old band, Coast, was more proggy. So this album became part of my listening cycle."