"And of course there’s Fellini, who has been with me most of my life. I remember seeing La dolce vita in the sixties as a kid. I couldn’t follow all of it and dropped off a few times, but some scenes stayed with me forever. Like the sea monster with the staring eye at the end of the film and the young girl shouting something to Marcello, who can’t hear her. Later I fell in love with Amarcord and 8½. The latter has become one of these comfort films I go back to watch every now and again, to reassure myself about the point of it all. It’s about being an artist and an impostor, and the endlessly complicated relations between men and women. There’s a freedom and honesty about these films, and each one has a form all its own."

"And of course there’s Fellini, who has been with me most of my life. I remember seeing La dolce vita in the sixties as a kid. I couldn’t follow all of it and dropped off a few times, but some scenes stayed with me forever. Like the sea monster with the staring eye at the end of the film and the young girl shouting something to Marcello, who can’t hear her. Later I fell in love with Amarcord and 8½. The latter has become one of these comfort films I go back to watch every now and again, to reassure myself about the point of it all. It’s about being an artist and an impostor, and the endlessly complicated relations between men and women. There’s a freedom and honesty about these films, and each one has a form all its own."