"I was doing a lecture tour mostly in California and I was being driven from place to place by my friend David Snow. I bought this CD [Glider], I don't know why I brought it with me, I hadn't heard it, I'd just picked it up on the way over from England. I put this first song on ('Soon') and I never played anything else. I don't know if I ever have ever played the other songs on it. I just put that thing on and it's just such a sonic experience, and in a car it's amazing. We had a hired car with an amazing sound system, and just being inside that music actually has a lot to do with what I'm doing now with this three-dimensional thing. You get that feeling in a car where you're really inside the music, you don't really get it in a room very often. It's such a statement. I remember that experience in the car so strongly as we hadn't actually used the hi-fi before in the car and it was turned up really loud. Oh my god. It's so chaotic, and recording doesn't capture chaos very well, it usually tames it, it contains it in a way. Again, it's about voices. One of the things that I really love in that is the fact that there's singing in there but you have no idea what it's doing. You can hear that somewhere in that thicket of noise there's somebody doing something but you have no idea what it is. I thought that was great, that singing could be like that. It doesn't have to be this person at the front with all the articulation and every word clear. It can just be a person in that mess and that was a real liberation for me."

"This might not be an album that people celebrate, but to me, the combination of Phil Spector and Leonard Cohen worked really well. His lyrics are so deeply poetic that you sometimes don’t know what he’s talking about, but it doesn’t matter because they’re beautiful. “It’s a very humanistic record. The stories are very eloquent and touching, and the melodies are very rich. I love the fact that all the songs are unbelievably slow, too. It’s an unusual-sounding record. His voice has changed a lot over the years, but on this record he’s really trying to sing. It sounds like he’s straining, but that’s OK because it sort of adds to the drama."

"“What have you done to its eyes?” How does a movie become a classic? Is it timing? Was it the dream-team collaboration of Paramount, Polanski, and Robert Evans? Was it producer William Castle, the mastermind who purchased the Ira Levin novel with plans to make it himself? Was it Mia Farrow, who had been painted with the brush of scandal after marrying Frank Sinatra? Did the devil himself have a hand in it? Whatever the reasons, my fascination with this film has never waned. There’s an enjoyment in watching Rosemary’s Baby that is similar to another gothic horror film, The Shining. It’s like listening to an album you love. Seeing the repetition of familiar scenes and faces. Shaking your head at Rosemary’s innocence as she tries to convince people that her neighbors might just be in a cult with Satan! Another highlight is the production design and cinematography. Not a frame is out of place, and it’s beautiful to look at. It captures a kind of sixties avant-garde vibe. I get the feeling Warhol would have liked this film. There are all sorts of great exterior location shots of New York, and the Dakota building on Seventy-Second Street adds the right spookiness. Does anyone remember or talk about what an amazing actress Mia Farrow is? Watch Broadway Danny Rose, and then watch Rosemary’s Baby. There’s some range there! Farrow as Rosemary has a beautiful, waifish glamour, enhanced by short dresses that make her seem more fragile and doll-like. John Cassavetes playing the “actor.” I love that he’s an “actor.” I love that his name is Guy! He makes a great prince of darkness. With his dark eyes and leering smile, well, you know he’s guilty of something the minute you see him. Then we have Ruth Gordon, who almost steals the film. Her caftan-wearing, mousse-making devil worshipper is the perfect amount of comic relief. I also love Charles Grodin as the fink doctor who squeals on Rosemary. Ralph Bellamy: terrifying! Every woman’s nightmare! Maybe that’s why I love it: Rosemary’s Baby plays on every woman’s fears. The man I married is different. Oh wait—maybe he’s sold his soul to the devil!"