"That's the early one. That's just a very particular - I had that on CD, I would just listen to it on the plane a lot and really zone out. It's got some really upbeat jams on there, there's a real swing, but then there's a song called 'Naima', which is named after his first wife. It's just the most beautiful, saddest... I don't think it's sad, but it is minor. I would just listen to that record on repeat, it would really put me somewhere. I remember listening to it on the way to Phoenix, before I knew we were going to be laid over, and then on the way back. Just Coltrane in general, he's just the greatest one. In fact, I should say, there's a song called 'Dear Lord' [from Transition], I burned that from a vinyl, and that is number one, the sweetest, most beautiful Coltrane song I've ever heard."

"In general, I’m not a big fan of French New Wave films, and Touki bouki is clearly inspired by their characteristic fragmented, slow-moving, alienating quality. But the world of Touki bouki is so beautiful and engrossing that it sucks you right in. When the cows come toward the camera in the opening shot, you know immediately that these cows have been color-coordinated to within an inch of their lives. I love this kind of super-deliberate film where each frame could stand on its own. Even the piles of garbage are perfectly composed. Mambéty’s visual sense of humor is terrific: the man trying to break up a fight between two women only to get beaten up himself, the taxi driver running away in his yellow socks, Mory in the paddleboat with the lecherous Charlie. The main characters, Mory and Anta, never ask for our sympathy, because they are too cool for us."