"With “Uncut Gems” Ben and Josh Safdie have utilized all the elements I have loved in their previous films and brought them to a higher level, resulting in a unique cinematic experience. There is a suspenseful plot, there are complex characters, there are high stakes, but the most important thing is the sense that you are watching something which is one of a kind. The rhythm is relentless, the sound too, I would even dare say that it’s like watching a Robert Altman film that was dipped in acid. But all that can’t describe the film accurately either. Ben and Josh have created their own complete world — as they usually do — within a real world, that of Diamond District in New York. The balance they achieved between the naturalistic and the heightened elements is masterful. I was always impressed — frankly jealous — by their casting skills and instincts. They manage to create a seamless cast of characters by working with people that have never acted before all the way to veteran actors that in the end seem that they were meant to be part of the Safdies’ universe. It’s one Adam Sandler’s best performances — along with “Punch Drunk Love” and “The Meyerowitz Stories” — proving once more he’s a truly great actor but also the perfect choice to play this character. Because from within Ben and Josh’s unique style and cinematic voice, it’s the human element that stands out and makes everything fall into place, the flawed characters that we love, even in their most embarrassing moments."

"Me and Rick were living in a terraced house in Splott in Cardiff, near Tiger Bay. That’s where we formed our first band, Freur. We were making dub electronics and listening to dub reggae and Kraftwerk’s Computer World and Bowie’s Low. What blew us away was Brian’s (Eno) analogue electronic sound – that kind of degraded sound that he was making – and the fact that this great icon, a hugely famous singer and frontman, had chosen not to sing for half an album. What guts and courage that seemed to take. Years later you read that it ended up like that because he wasn’t around and that Brian experimented in his absence. But it takes great foresight and courage for David to come back and hear that and say, "yep, that’s the album." And not to think that because he’s a singer he has to blast away over the top of it. So that became a part of the blueprint for Underworld – that the singer doesn’t have to be the dominant force. He can play a supporting role. That Berlin period – the three Bowie albums and the Iggy Pop record – deepened the mythology of what I love about Berlin. The idea of going to a place and locking yourself away and making quite an extreme record in a different environment"