"I worked very, very briefly in the money market, and continue to be fascinated by the amoral shuffling of money that has real consequences in ordinary people’s lives, and very little consequences to the people doing it. Michael Lewis is brilliant at making things accessible. "

"From the opening shots of Daniel Day Lewis running through a forest in chase of a deer, to the finale when he’s sprinting across a mountain to protect his brother, this is my kind of romance – men and women living upon the earth, fighting for love, and willing to die for nothing more than honor. It may not be the ‘greatest love story’ ever told, but when Day Lewis promises to find Madeleine Stowe’s character, no matter where she goes, before jumping off a waterfall, that’s one of the great scenes in cinema history. Kudos to Michael Mann."

"I edited Scott Pilgrim on Charlotte Street in London. Two key Peeping Tom locations were outside the door of my workplace: the passageway where a doomed prostitute picks up Mark Lewis in the opening sequence, and the newsagent above which he takes adult photographs. I had seen Peeping Tom two or three times before but finally watched it on the big screen when I was working in its locale. Michael Powell’s film had always haunted and intrigued me, but seeing the streets that I traversed every day on-screen from fifty years earlier had a darkly powerful effect on me. Even though the film is a work of fiction, my walk home would never be the same again. I would think about Peeping Tom every day, and beyond that, the ghosts of Fitzrovia: dark doings behind closed doors, grim secrets at the tops of narrow staircases."