"In the mid-seventies I got more into the art of cinema (and into the arts in general), which coincided with a great period in American cinema. I got seriously hooked on Taxi Driver, Badlands, Days of Heaven. These films with alienated heroes, where landscape becomes soul-scape. They made me realize that cinema can be this amazing space where images, words, faces, landscapes, and music all melt together in a mysterious way. Even now, my favorite films are those that take you out of yourself, that make you enter this other world on-screen. These three films did exactly that to me."

"In the mid-seventies I got more into the art of cinema (and into the arts in general), which coincided with a great period in American cinema. I got seriously hooked on Taxi Driver, Badlands, Days of Heaven. These films with alienated heroes, where landscape becomes soul-scape. They made me realize that cinema can be this amazing space where images, words, faces, landscapes, and music all melt together in a mysterious way. Even now, my favorite films are those that take you out of yourself, that make you enter this other world on-screen. These three films did exactly that to me."

"I first saw this movie on a third-generation bootleg without subtitles while I was making my first real movie, Modern Love Is Automatic. It changed the way I made that movie (there were pickup shots in Modern Love that were slated “Jeanne Dielman, take 1”) and the way I thought about movies, art, and time in general. This movie never gets enough credit for how funny and tense it is—it’s equal parts scathing satire and deconstruction/reinvention of the Hitchcockian thriller. Film financiers of the world, give all your money to twentysomething Belgian women."