"This is, by far, one of my all-time favorite films of all time bar none. I have seen the film well over one hundred times, and I am always trying to get people to watch it with me. Funny enough, as I type this, I am in Bordeaux, France, at the first ever Bordeaux International Independent Film Festival. I was asked to pick one film that I loved that I could talk about, and, of course, it was 3 Women. The screening is tonight, and I am seeing if for the first time on 35 mm. I had seen VHS copies of the film prior to the wonderful Criterion version coming out, and, of course, I now see and hear things in the film that I have never known before Criterion brought that all in. The film has a magical quality. I experience new things and information about the film every time I see it. It’s like a recurring dream that I don't mind redreaming over and over. It’s my favorite film in the world. I would love to do a one-off film festival somewhere called The Identity Crisis Film Festival . . . and show all films that I feel are similar to 3 Women, such as That Obscure Object of Desire, Persona, and Mulholland Drive."

"I never really listened to Blur much or many of the other Damon Albarn projects, but I was on tour and kept running into Dangermouse. He was on tour and we were playing a lot of the same festivals. He may even have given me a copy of this record. I remember being in Adelaide in this lonely hotel, drinking a bottle of red wine alone at sunset and listening to this record and being completely mesmerised by it. I love the whole thing. I love Dangermouse’s glitchy, hip-hop Beatles production ideas. It’s just a really great recipe: the whole thing. I spoke to him about making that record but I almost don’t want to know what it involved because it’s so magical to me. I’m totally into Paul Simonon’s bass playing. Even though it’s not a reggae record, courtesy of him it has some of that kind of soul. And Tony Allen’s drumming is wonderful. It almost sounds like military drums. It’s very angular. It doesn’t swing. It sounds like ‘Let’s attack, let’s attack.' At the heart of this record, you have really simple rock & roll performances, but the production brings a lot more detail to it. I’ve worked pretty briefly with Dangermouse on something in the past. I enjoy his personality a lot and I’d sure as hell like to work on a record with him one day."