"Why not see this movie twice? Even if you don’t like it, it’s worth revisiting. Films like this don’t come along that often, or perhaps ever. Granted, I suspect that it’s far more exciting for filmmakers than for general audiences, just because Cuaron did with this movie what we all wish we could do: he took his time. It’s easy to make comparisons to Proust, except that the film isn’t really Proustian; it isn’t fluid enough, it doesn’t resemble the memories it’s based on but the real events that begat them. It’s closer to Knausgard in that regard, but let me dispense with literary comparisons because this is a movie with a capital M: it’s been declaring itself so very loudly all fall, and I’m happy to join the chorus."

"It was just a very definitive moment in not only West Coast hip hop, but hip hop in general. It was a bridge - it was young hip hop with an old soul, which made it alternative. Rap was still fairly young at that point. I had a friend who was a very cool guy, he had the weed, and always had a demeanour about him - 'I know something you don't'. He had an advance copy, which made it even cooler. Almost every break beat there is is used on that album, which gives you an unwritten indication that anyone could have done it - but of course, that's not true. Technically, he started where we all had to start from, which is the bottom. That's what's cool about it."