"I first heard the record in Joe's [Goddard, Hot Chip] house, and I think we would have been about 16 or something. He'd been told about Palace by Kieran [Hebden, Four Tet], and we would all go to the Beggar's Banquet record shop in Putney after school, and buy and listen to things in there. We'd buy hip-hop, different indie records and pop albums. It was particularly good for hip-hop, and these lo-fi indie rock records. That's where we bought the album, and we were in Joe's room where we would work on Hot Chip recordings, and it sounded so different to anything I'd ever heard before, because it's so slow-paced. Will Oldham's voice is so unusual when you hear it, and particularly at that time before he'd developed into being slightly more well-known, his voice was particularly eccentric - it cracks in some interesting ways; it's not a formally trained voice - over that sparse piano and drum machine backing. The song that I first heard was 'You Have Cum In Your Hair And Your Dick Is Hanging Out' - a memorable title! The song doesn't have those words in it. It's just a beautiful heartbreaking ballad, and it's hard to know sometimes what that dense lyrical terrain is all about with Will Oldham. Some of the symbolism is quite hard to read, but it makes an emotional impact straight away. It took me a long time to get to know that record. I bought my own copy in Lancaster when I went to visit a friend at university, and I just kept going back to it. Each time there would be another song that I would get to know and love. I had a long car journey with all of Hot Chip, and some friends of ours from a festival recently, and we listened to the record, and it was another breakthrough where it became more meaningful to me."

"I love this movie and always have! And now I get to love it more on this far-out DVD package. Until watching the accompanying doc, I had never really thought of the film as a 1970s American Graffiti—for me, the fun of it is in the ensemble cast of young people, many of whom became huge stars later—it reminds me more of Fast Times at Ridgemont High. But also on this doc is an extraordinarily frank look at the difficulties of making this film. People in the movie business—indie or otherwise—are rarely this honest in discussing what it took to get the film you see on the screen. I really appreciated the honesty of Jim Jacks and Richard Linklater, who, uh, shall we say, didn’t always agree on the set. Also, the interviews with the young actors, like Marissa Ribisi, talking about the approach Linklater took with them, were completely enlightening. I plan to steal his entire approach from now on. :) And the packaging is an artifact to have for keeps: the cover artwork by Marc English, based on the Led Zeppelin III album cover, is supremely inspired, and the booklet is a high school notebook. It’s great pop culture folk art! I own a collection of Memoryware folk art that people used to make with all their leftover trinkets and little pieces of their lives: earrings, coins, buttons, etc. They’d take these mementos and put them in plaster on top of an old jug or jar and call them “memory jugs” or “memory jars.” And this is what this DVD is for me—a keepsake. A memory jar of seventies pop culture. No, of 1976. No, of specifically 1976 Austin, Texas. And yet . . . it’s a memory jug of anyone’s last high school rite."