"This is, by far, one of my all-time favorite films of all time bar none. I have seen the film well over one hundred times, and I am always trying to get people to watch it with me. Funny enough, as I type this, I am in Bordeaux, France, at the first ever Bordeaux International Independent Film Festival. I was asked to pick one film that I loved that I could talk about, and, of course, it was 3 Women. The screening is tonight, and I am seeing if for the first time on 35 mm. I had seen VHS copies of the film prior to the wonderful Criterion version coming out, and, of course, I now see and hear things in the film that I have never known before Criterion brought that all in. The film has a magical quality. I experience new things and information about the film every time I see it. It’s like a recurring dream that I don't mind redreaming over and over. It’s my favorite film in the world. I would love to do a one-off film festival somewhere called The Identity Crisis Film Festival . . . and show all films that I feel are similar to 3 Women, such as That Obscure Object of Desire, Persona, and Mulholland Drive."

"The first time I heard him was in London, it was 1964 and he had just come out with that album and I got it. It was in my manager Gordon Mills's Notting Hill Gate flat and he just had it because they used to send him stuff - things that I might like. There was this album, so I thought "Shit! This is tremendous" and recorded a bunch of the songs on there - 'If You Need Me' was one of the ones on the first album. Solomon was always my favourite soul singer, more than Otis Redding, Sam and Dave or Wilson Pickett. Solomon was a step above. He was more of a singer who happened to sing blues and gospel - you could tell that he came from the church, but he sang it better. Otis Redding used to get trouble with this throat - you could hear it in him. He was struggling to get out what he did. Wilson Pickett had great feel and great drive, but there was a roughness to his voice, and Solomon could be rough or sweet when he wanted to be, he could put his voice into different areas. And his range was huge - there's that track on it, 'Goodbye Baby, Baby Goodbye', he sings that in two octaves, which is tremendous. Real, very honest."