"Like Melville, Michael Mann is a master of silent storytelling, but he is also one of the best writers of dialogue I know. There’s a scene between James Caan and Tuesday Weld in a diner that goes on for ten minutes, but you never get bored for a second. They go from being virtual strangers to lovers in the course of a conversation, and you don’t question it. Not only do his criminals feel authentic when they talk about their profession but their inarticulate attempts at declaring their love feel just as true."

"Someone made me a mixtape once of a lot of amazing folk and soul and jazz, kind of legendary songs, quite rare, and it had a lot of Pentangle and Fairport Convention and it had 'Compared To What' on it. And I went seeking 'Compared To What' because I thought ""what is that song?"", and that's what inspired the song 'Central Reservation'. It's just an amazing record. Come the last six years, I was just like, ""you know what, the sound of the next record is this record"". One of the reasons is that I love the fact that the drums and bass are ever-present and yet, at the same time, they're almost not there. I can't explain it; it's like all of the elements of the record are perfectly heard but each sound has so much space around it. It's got the most extraordinary rhythm, emotion and beautiful songs. When I started speaking to Tucker Martine [Sugaring Season producer], who produced the album, I said ""okay, here's a blueprint for a sound I love and a record that I love"", and that was it. We weren't being analytical; it gave us a starting place, and from there it grew out. It's just filtered through in different ways."

"I was a dancer, and this movie inspired me to become a dancer, I think. I grew up watching Fred Astaire and Ginger Rogers films, and they really inspired me. I loved watching the big dance sequences in this film. Gene Kelly is phenomenal. I love that the film has fun looking into the transition from silence into sound in the movie world as well. It was a big challenge for a lot of actors to go from one to the other, and I think they have a really hilarious look at that transition. But also I think it’s these big dance numbers and big choreographed pieces with a hundred dancers on top of their game. You just wouldn’t see that anymore. You wouldn’t see sets like that either – the shots are just phenomenal."