"They’re the one band I’d love to see reform and get all the money and all the credit they’re due. They were so explosive, so prolific, so ragged and quite harsh live. They were very much of a pre-90s world, if you know what I mean - under-rehearsed, slamming it out, not caring. Probably never had a fucking tour bus. They were on the cusp of greatness, then it all fucking imploded. Songs like ‘Too Far Down’, ‘Hardly Getting Over It’, ‘Sorry Somehow’, I love that because of Grant Hart’s desperation on it. I always preferred Grant’s voice but I think Bob [Mould] might have shaded it on the lyrics."

"The last film I would say — and I could pick many of his films, but I will choose Woman Under the Influence, by Cassavetes. I could also have said Faces, or I could have said The Killing of a Chinese Bookie, or Husbands, or Minnie and Moskowitz, or I could have said Love Streams, but — today it will be Woman Under the Influence. I love the structure of it; its two-part structure — it really feels like a film in two movements. Arguably the two greatest performances of all time, between Peter Falk and Gena Rowlands. You know, it’s a home movie, and everything I’ve been trying to make are home movies — movies that take place inside the house and the family. I love the spirit of Cassavetes’ films, in that he’s casting his wife and his best friend in the roles, and his mother and her mother are in it, and the kids. To me it’s a movie that changes, too, throughtout the course of my life. I know the movie isn’t changing, I’m changing; but when I watch it the movie seems to shape-shift. I remember the first time I ever saw it I thought she was crazy; I remember on the 50th time I watched it I thought she was the only sane person in the movie and everyone else was crazy. I love that about movies that are made with a certain openness — that the audience can kind of participate in the imagination of the characters, you know; of their lives and of the story."

"With my friend Morgan [Freeman]. It’s so funny, these movies, the ones that I’m pulling out, they all have the same element. They feel perfect. I can’t find a false note, I can’t find a scene or a moment that you could lose and the movie would still be as good. There’s not a wasted breath. I think that Unforgiven is some of Clint Eastwood’s best work. I love westerns — I grew up on them — watching them and playing them around the barn in Buffalo. This is a different western, again, this is a broken guy who’s hanging on by his fingernails. He’s been a dirt farmer, he’s lost his wife, this is his last shot. That’s funny, it’s a little like The Verdict in that respect. None of it is pretty. It’s not slick, it’s not the balletic gunfighting that you see in some movies. It’s ugly and awkward and it’s not easy to kill a man. That was one of the themes that just stuck out like a sore thumb. This is not an easy thing to do, kill a man. For all the glamour and all the romance of the old west and the gunfights and so on, this is awful work, guns. They brought that to life. Gene Hackman can do no wrong. He’s sort of an acting god."