"Gregory Nava’s film was shown at a Friday school assembly at the private Quaker school I attended from kindergarten to twelfth grade. It was International Day or some special Friday event, and we had the whole morning blocked off. I remember being floored by the rough-hewn portrayal of migrants who were my age, crawling through sewer tunnels as if they were in a Victor Hugo novel. In my twenties, I would go on to chronicle the journeys of Latin American and Caribbean migrants who crossed into the United States without documents. I would ride in the backs of trucks with them, interview them at U.S. Border Patrol processing stations, track their families, who had paid coyotes thousands of dollars. As a thirtysomething mother living in Houston, our Guatemalan babysitter borrowed $1,800 because her son was being held in a safe house in Northern Mexico. After his release, he was picked up by Border Patrol and held at a processing center in Houston. An editorial friend of mine from the Houston Chronicle visited him there and wrote about his journey. He was eventually released and was reunited with his mother. The impact of this movie cannot be understated. I was lucky enough to meet Gregory when I was a Los Angeles Times reporter covering the lack of diversity in Hollywood, and I remain a fan of his work."

"This is, by far, one of my all-time favorite films of all time bar none. I have seen the film well over one hundred times, and I am always trying to get people to watch it with me. Funny enough, as I type this, I am in Bordeaux, France, at the first ever Bordeaux International Independent Film Festival. I was asked to pick one film that I loved that I could talk about, and, of course, it was 3 Women. The screening is tonight, and I am seeing if for the first time on 35 mm. I had seen VHS copies of the film prior to the wonderful Criterion version coming out, and, of course, I now see and hear things in the film that I have never known before Criterion brought that all in. The film has a magical quality. I experience new things and information about the film every time I see it. It’s like a recurring dream that I don't mind redreaming over and over. It’s my favorite film in the world. I would love to do a one-off film festival somewhere called The Identity Crisis Film Festival . . . and show all films that I feel are similar to 3 Women, such as That Obscure Object of Desire, Persona, and Mulholland Drive."

"I didn’t come into that record until about two years after it was made - I think I was about 34 and my wife and I were having kids and I was going back to school. In the late nineties rock music was kind of awful and you really had to search, there were a few bands out there doing different stuff but it was kind of an awful time for rock music, so I think I chose the right time to go back to school and have kids. Anyway, it took me two years but someone finally switched me onto the record and it blew my mind. Then I found out the band had split up - I went to see The (International) Noise conspiracy but it wasn’t Refused, so I thought really I missed my chance to see that band ever. But I finally got to see the band a few weeks ago in Seattle. There are gigs you go to on your own, ‘cos it’s not a social event, you don’t want to talk to anybody you just want to go and do your thing and it was really one of those moments where the gig was better than the record. That gig fortified everything I love about that record, that’s probably a top five record for me. Actually that record influenced a lot of the first Velvet Revolver record, we would listen to that band a ton"