"Because of Malcolm McDowell I’m gonna go into A Clockwork Orange, because that was the other great teenage performance, along with James Dean in East of Eden. Stanley Kubrick’s treatment of the subject of violence and the mystery of nature and to go against out natures and what is or isn’t necessary, and what is the true evil, and all of these questions that came out of the absurdist and evocative film that is Clockwork Orange, again, is everlasting. And also his lighting: even today when you look at some of the stills from the movie, when they’re in the Milk Bar, it looks like virtual reality and I don’t know how he did it — he was really a master of light."

"I was exposed to Brakhage’s films during college, and like most cocky film students who want to make narrative work, I thought it was bullshit. I wanted to make real movies, and I had no idea what this stuff was—it seemed like anyone could just fuck around with a strip of film and some paint and point the camera at different shiny things and make a movie. What was the point? And what could anyone possibly see in the work? Those questions are still worth asking, but I’m asking them with an open mind now, and it’s thanks to filmmakers like Brakhage, who were brave enough to experiment. I don’t love all the work, but I love exploring it."

"I was completely unprepared when I saw Mulholland Dr. in a small art-house cinema in Stockholm, and it blew my mind. I came out of the movie and just felt like I needed to talk to people and ask questions, like, did you see what I saw? It was huge for me, and it almost felt like, you can’t mess with people like this and get away with it, somebody should do something about it. Usually when American cinema tries to be surreal or nonlinear or non-narrative, it turns either really pretentious or really Hollywood. But David Lynch, in this film but also in general, is probably the only person I know who has succeeded in making his own version of American surrealism."

"“​What I’ve really got to learn is to accept the mediocrity and the lies that surround me. The poor political responsibility of those around me​.” Valie Export is one of my favourite artists and celebrated her 80th birthday quite recently. The film follows an investigative female journalist trying to bring justice to the corrupt world she finds herself in through two oscillating relationships. The heroine is in pursuit for nothing but the truth. Video control and surveillance in striptease places, subway stations and street traffic are important for the structure of the film. At large, the experimental plot interrogates the body, identity, and dynamics of power, it questions the overwhelming social gazes placed on women. One day I would like to remake the film."