"""Rather than going into the technicalities about them as a band, with The Only Ones it’s more about what it says about me as a teenage fan. I went to a lot of places to watch them, I slept in at least two bus shelters and on the kitchen floor of someone I didn’t know once. Sometimes I’d have tickets and sometimes I’d sneak in to see them and not just in the North, I came down to London and saw them at Dingwalls and The Lyceum. “Peter Perrett was feminine, and if you were a real fan of The Only Ones he had this thing where you’d almost imagine him as a really cool older brother who you didn’t know, that was the way I used to look at him. He led the gang, but he was small and I was small, and he got really involved when he played and that’s the thing, they were a really tight, great rock band. In a way he was almost like my Syd Barrett, he had a very poetic aspect to him. I was already well into studying what the rules of being a bohemian were about and he was it really. “John Perry was an amazing guitar player. Even then, when I was really learning my thing, I was aware it sounded exactly like a Jimi Hendrix lick crossed with a Jeff Beck lick from The Yardbirds, he was of that generation, probably a second generation Marquee, Wardour Street guitar player. They had a really fantastic drummer too, Mike Kellie from Spooky Tooth. They were a great ensemble and I knew they were really rehearsed and it really mattered to them. Peter Perrett never turned up like some druggy mess. “‘No Solution’ is a lesser known one, everybody knows ‘Another Girl, Another Planet’, but it’s the fan in me turning people onto one I think they’ll like but might not know. Fans of The Only Ones will know this song, but when I say fans I’m talking about the people in the audience, I think there were only five of them and I’m probably the only one still left alive!"""

"[Anything in Ashby’s] body of work is always recognizably him, but it’s pretty elastic. Like Being There is very different than Shampoo in a lot of ways. There’s a little bit of the surreal that can enter in, but at the same time, they’re very grounded and very of their time, and have a certain gritty feel to them. They’re not so clean. There’s a naturalism there that he marries with some very bold moves and even magical realism. [The Landlord] is this movie that not too many people have seen, didn’t have a big release originally, and it’s hard to find on DVD, and doesn’t have the reputation of Harold and Maude and Coming Home. But I kind of think it might be his best movie. Maybe it’s just because it’s so screamingly brave in a lot of ways, and it hits so many issues. There’s so few American movies that touch on class, and this just comes straight at you like a train, talking about class issues, race. [It’s about] this young man who’s born into privilege, struggling with his place. “He is to the manor born,” you know? He has money in his blood, and he can afford to go buy a building where people are living. Just a young man, Beau Bridges, and it’s probably my favorite thing I’ve ever seen Beau Bridges do, too. It’s sort of startling to see him in this role as the golden boy, and you can almost see Jeff Bridges playing it, too. And the fact that this white guy, automatically, just by the color of his skin and the place he was born and the family he was born into, has the ability to be responsible for the lives of all of these far less fortunate or privileged people. [He struggles] with that sense of responsibility and [tries] to reject it and give up that control, but [also] do right by these people. I don’t know, it’s so complex. But [Ashby’s] not afraid to have some very broad comic moments. You know, there’s a few people who can do it since. Like Alexander Payne or David O. Russell, a few other people whose work you can see owe a lot to Ashby."