"I remember the intensity of Pialat’s acting. His power is so overwhelming and economical. All of the language in the film is incredibly straightforward, very open and transparent. I’ve only seen it once, twenty years ago, but I remember that it was completely opposite of what I just said about Gertrud. Instead of transcending itself, it’s just so clearly present, like a statue right there in front of you."

"Again, this is a real stoner record. But the thing with it was the method of tape loops and being experimental in the studio with tape. With not much other technology available you would do things with varispeed and loops. We only did it a couple of times but you end up with sixty feet of tape going round bits of microphone stands and chair legs and handles of the kettle and things like that, just to get it to play in a loop the way you want it to. And to then be able to build on top of that into something coherent and repetitive: in a way it really was the birth of techno. Certainly the more ambient stuff like The Orb, where they're saying yes, we like things that just keep going and are repetitive. But in a way again it's the dynamics of it, because what you really have is that the loop becomes the foundation and it becomes a mechanical thing where you don't actually need to listen to it once you've got the idea of it. It keeps going, your mind cancels it out and then you listen to what's going on above it and on top of that. So it is a kind of foundation thing, and it's almost like as a species, people like perfection. That's why we like laser beams and bubbles. And we like repetitive music and drum loops because our consciousness doesn't need to pay attention to them, but we admire them because they are perfect, and nothing else in the world is. That was the real value of Terry Riley for me. With the Damned's second album we had this song called 'You Know' and I remember Brian said it's just one riff and we keep repeating it. And I was thinking fucking hell, Brian, have you run out of ideas? But actually there is something that goes with that, which is that almost hypnotic groove that you can find yourself in when you're listening to it, or when you're playing it."

"I would say that’s the first quintessential coming-of-age movie. It felt so real, and it just captured the freedom, danger, fear, hope, and everything that comes with being a kid. It’s one of the best movies ever made. It was such a shock to the world when it came out, too, and it was, like, “Oh, wow. You can make movies like this?” It stands up, too."

"I feel like this book kind of dug in. Rachel Kushner really created such a depth to the story and environment of the lead character, Rony Hall [who is serving two consecutive life sentences, plus six years, at Stanville Women's Correctional Facility]. I just felt like the mood of it is depressing but also people learn that the subplot is more compassionate in relation to the main character"

"I went through a phase toward the end of the summer this year when I was only listening to LCD. I was listening to the last album This Is Happening, and just thinking about the artistry of that album, about how they do these intros—it’s almost like white-water rafting. It’s like you see the crazy part coming, and then it calms down, and you have this perfect path forward"