"This is from that same period. He's such an unusual artist. I could have chosen the first album but I'll choose Shooting At The Moon because I saw him play when I was in Coventry and it was just absolutely extraordinary. It was the group that had Herbie Flowers, David Bedford, Mike Oldfield... This was another John Peel thing. I heard 'Joy Of A Toy', 'The Lady Rachel', 'Stop This Train' with Robert Wyatt playing drums, and all that early Soft Machine stuff which he liked. It's beautiful, things like 'May I?', incredibly gentle, beautiful love songs. Sexy. That gentle and sexy thing has always been there in Wire. When you think of 'Blessed State', which is Bruce's song, absolutely beautiful. There's always that temptation to make it simple; Colin with his white hat and us with our black hats, that's the tension. It's not as if we haven't been accused of being obscure on occasion, or opaque. But usually it's the things that people think are opaque are the things that are straight reportage. People do it, you see it, you write it. Real life is stranger than fiction but it seems as if in popular song it's not - it makes real life really dull and not about love, negotiation, and mess, and passion."

"What I love about Mulholland Dr. is its full commitment to and immersion in this world of chaotic femininity that almost seems to loop and has no beginning, middle, or end. It’s my favorite film, and I think it’s the best film about actresses and being an actress. How Lynch destabilizes the idea of what a realistic character is—I find that more true to the chaotic emotional reality that the film is trying to convey than something more linear. This film just plucks away at something deep and dark in the back of my monkey brain, and I can’t get enough of it. The way he uses mood and sound, and the way he has nightmarish visions and images, like the lady behind the dumpster—he just lets that hover over the film and you feel like you’re going to see her again but you never do. I know there have been criticisms of the way he portrays women, particularly white women, and white people. People critique the lack of diversity in his films, and I understand why, but I almost feel as though ideas like whiteness and femininity are characters in his films that he explodes in the way I believe they should be."

"I feel about The Lady Eve the same way I feel about A Hard Day’s Night. Both movies are on my all-time top ten list of favorites. The first time I saw them, I had the same impression of comic density. Enormous energy that I was running to keep up with. I felt like I had to see this movie again, if only to have another shot at laughing at the hundreds of jokes. I love movies that make you feel like you are not getting it all the first time, that there is much more to be had. Eve is my favorite Sturges. I love the chemistry between Barbara Stanwyck and Henry Fonda—like when she takes him back to her stateroom, manipulates him into making a pass, and shuts him down with “Hopsie, you ought to be kept in a cage.” On a pure filmmaking level, the honeymoon night on the train when Eve confesses to all her premarital dalliances is a tour de force of writing, acting, and editing, and it’s one of the best musically scored comic sequences in any movie ever! Sturges’s mother was an adventuress, a confidante, and traveling companion of Isadora Duncan. I like to think there is more than a little of his mother in Eve."