"For the four years between 1971 and 1975 one could say that Robert Altman didn’t touch the ground. I am strangely less sensitive to his previous work, including M*A*S*H, and what followed (too baroque for my taste), but Thieves Like Us, California Split, The Long Goodbye and McCabe & Mrs. Miller are the great successes of a cinema free of all constraints and carried by the best of the spirit of their time. It is hard to believe today that these films were actually financed by a studio and were even popular successes. Nashville is the culmination of this rather miraculous cycle. And even its transcendence – being a sort of “total-film” – its timelessness grasps the American spirit in a way that few films have. One feels at times it veers toward caricature that is a little cynical – Geraldine Chaplin, a very young Jeff Goldblum – which gives a glimpse of what will follow it; but for the most part, the film is in a state of grace, at once funny, cruel, profound and always seeking human and social truths – with a scalpel."

"The Big Lebowski is like a bowl of noodles I could eat every single day, and it would be endlessly emitting new flavors. It’s just incredible. There is like an academic reading of Big Lebowski that you could go about on forever…this polemic about war, maybe specifically World War II, and then it’s like this commentary on Hollywood, like a spoof. Then, it’s just a great weed movie. And then the performances are just ridiculous. Jeff Bridges is doing, I mean, Olivier level acting. It’s ridiculous that there’s a monologue in the limousine… he comes out of the limo that Maude sent him, and then another driver immediately – ­which is just the most hilarious visual, just going from one limo to another limo. Then, he gets in there holding his White Russian, and then has to explain himself, and he stammers, and each thought is so clear, but leads nowhere. There are no scenes that aren’t fun. Also, I don’t understand the movie, which is kind of a great feeling to have. I don’t fully understand the plot, and I’ve seen it 100 times. It’s a very unique movie in the sense that I don’t know what’s going on every time I see it."

"The album I got into most from Jeff Buckley was Grace and I listened to that loads. I've listened to that back to front, but more recently I got into Sketches For My Sweetheart which this song is on. I think that this album is all demos and the fact that it still sounds so complete, the message is still so strong, the energy’s still there. Something about that particular song just really felt like church to me I can’t explain it, maybe it’s the chord progression. It was like grunge church, I'm into that. I'd love to go to a sermon where it’s grunge church, that's me. But more so how he kind of created a world in this song where I don't really get what he’s chatting about but I’m with him, I’m on that journey. I love things like that, that I can’t explain, and I think Dark Matter is very much like that, I don't want people to try and explain it. I want people to try and feel it, have that relationship. And then maybe one day find out why it makes you feel this way. I haven't found the answer for this one yet but that's definitely the vibe."