"It was between The Idiot and Fun House, but it's almost like The Idiot and Low are part of the same package or something. Low is an incredibly ambitious and strange and enjoyable album. My parents weren't into pop music, but one of my very first memories is being at a child's party and hearing 'Starman'. So Bowie is one of the people who made me consider that I liked music. It was a really important, formative thing. Low is probably just from becoming a fan, getting all the records and deciding that that was my favourite one. It's not often you hear a record and can't actually approximate the thought processes that went into making the song. Maybe that comes from imagination run wild through drugs psychosis, or maybe them just sat around having a laugh going 'you know what would be mental? Let's have a ten-minute song where I start chanting in the middle of it'."

"A few years ago, I read that Mike Nichols made sure there was always a window or door visible near Benjamin when he was with Mrs. Robinson. As if to say he could have left at any time. He wasn’t a victim. This movie endures for me because it keeps changing in significance. It began as a risqué and wild peek into a slightly nerdy guy’s life. Now, as a middle-aged mother, I see it differently. For starters, Anne Bancroft was only thirty-five years old during filming—she was hardly the crone or predator I had viewed her as when I was a girl. In fact, watching it now, I see a woman who is toying with a curious young man, a woman stepping off the grid for something that is entirely her own and not meant for public consumption. In my imagination, Mrs. Robinson has other lovers, and The Graduate is just a moment in her arc of disillusionment."