"I actually went to the theater as an eleven-year-old and saw this film in its original release. (I know. Weird.) The cinematography (Raoul Coutard), the editing (Françoise Bonnot won the Oscar), the score by Mikis Theodorakis, and the performances by Yves Montand, Irene Papas, and Jean-Louis Trintignant created an overall intensity that overwhelmed me. One of the most searing political thrillers ever made, and one of Costa-Gavras’s greatest, it won best foreign language film at the Academy Awards in 1970."

"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."