"My friend Leila Arab turned me on to them. I love their songs, especially Full Moon (Death Classic) and Guillotine. Intense rapping, lyrics and lush beats. It's all good. They stand out because they're visceral, but also the global, fresh mix of a black English guy and a white Cali drummer and punk and hip-hop. Mostly I don't listen to experimental rap but in between there are gems, the same with all music genres."

"My friend Leila Arab turned me on to them. I love their songs, especially Full Moon (Death Classic) and Guillotine. Intense rapping, lyrics and lush beats. It's all good. They stand out because they're visceral, but also the global, fresh mix of a black English guy and a white Cali drummer and punk and hip-hop. Mostly I don't listen to experimental rap but in between there are gems, the same with all music genres."

"I would say, Vacances romaines. I don’t know the English title. With Audrey Hepburn. Roman Holiday? I was not at all a baby girl who just wanted to be a princess, at all, but the fact is, in my movie choices, I was really obsessed with those beautiful and strong and funny and fragile women. [laughs] I was not wearing any princess dress or things like this, but in movies, I was very into it."

"At the time the film first played theatrically in the U.S., I was invited to a private screening of the five-hour television version. As one who’s addicted to marriage, it was a devastating experience. The final segment in particular made an indelible impression, and I’ve watched it many times. My only regret is that Criterion didn’t include the alternative dubbed soundtrack, on which Liv Ullmann and Erland Josephson re-create their performances in English."

"Who can really understand Bowles’ writing? Well, some people can, but not I. Nonetheless I love it, and it has the irrefutable hyper-reality of dreams. Only a very few other writers (Denis Johnson is one) have used American English with such exactitude and so cracklingly, have observed so fearlessly the emotional abysses that confront us, and are so deliriously funny. Claire Messud’s introduction to the recent Ecco edition is eloquent and insightful."