"I am convinced that Buñuel had intimate conversations with God throughout his life, wherein they would share their observations on humanity and tell lots of jokes. Buñuel’s movies are evidence of these dialogues. That Obscure Object of Desire is about a little man like you and me, self-satisfied and lustful. He is in love with a woman who refuses to give herself to him physically. This 1977 movie (Buñuel’s last) is irreverent, sexual, funny, elegant, shocking, embarrassing, political, and light as a feather. The way to enjoy it is to just let it happen to you, rather than to harbor any preconceived thoughts. To try to analyze why the director uses two actresses to play the same character and the motivation behind when he chooses to use each one is to miss the movie entirely (and to be the butt of a Buñuel practical joke—that’s him laughing at you while you are engaged in this fruitless exercise). As the story unfolds, you begin to feel that these two physically opposite actresses (the drop-dead gorgeous Carole Bouquet and the sultry, exotic Angela Molina) are the same woman and represent Buñuel’s complete male fantasy. Like many of his great films, this one includes a pig, a few nuns, a dwarf, and Fernando Rey."

"The Master is masterful. It is such a beautiful portrait of a relationship between two people in very different places in their lives. The power dynamics between them and the love between them, that is kind of indescribable. The bond that forms [between] them is different than you’d have with your spouse or your children or your parents, a true bond that is that kind of friendship that can bail you out of trouble and also get you into trouble. And I think it’s Philip Seymour Hoffman’s finest performance, I think it’s Joaquin Phoenix’s finest performance and, of course, I think PTA [Paul Thomas Anderson] is one of our greatest directors, if not the greatest director. I just love every aspect of the storytelling. I am always interested in a leader, whether it’s a religious leader or a cult leader, someone who finds a following and a flock, someone who, you can look at them one way and they’re a fraud, a charlatan, and look at them another way and they are close to God. I find that really intriguing. I find that kind of attention from a person like that is very interesting and intoxicating and it was certainly something I was thinking about when working on Hustlers. [I] was thinking of Ramona and Destiny’s dynamic in that way… when one person is holding the wheel and one person is in control, you know, and the other person may not be able to fall in line in all the same ways. What happens when that person turns away from their leader and no longer feels aligned with them?"

"You can't fail today to be mesmerised by 'Whole Lotta Love'. That was the song that did it for me. A lot of these choices that I've made are either the first or second release from these bands. I always thought that those were great times, because there was never any pressure around artists. You don't have all of the extras that come with being successful. The band is in a very pure place at that point. I always remember playing with them, but it was quite a while after this album came out. We'd just completed a very, very long and gruelling American tour. We were about to fly back to the UK and we had a call from Robert Plant saying, ""I heard you guys are still over in the States, would you like to come and hang out and open for Zeppelin on the Green ['Day On the Green' concert] in Oakland?"" So we got a really cheap, unglamorous motel by the side of the freeway. It was so poor that the walls were basically green, covered with algae. We were there for a week and just waiting and waiting and waiting for the chance to open up for Zeppelin. That was a very important show for Priest, because that was what broke us on the west coast of America."