"It’s the ultimate, sprawling ensemble Altman film — the way each character has their own story to such a degree, and he pulls it all together. It has these thrilling moments, these funny moments. The music is both very moving and satirical, funny and beautiful too. Keith Carradine’s song, “I’m Easy,” is a beautiful song, and some of the other songs like “200 Years” by Henry Gibson is hilarious. It’s just ridiculous. So, that you could have all of this go into one big collage where you have realism, satire, romance — it’s all there — is quite a feat. And I actually saw this when I was a teenager — fourteen or fifteen — and I was bored. I didn’t really understand what I was watching, but I saw it a little bit later, and it kicked off something else in me."

"When people have asked me suddenly, “What is your favorite film?” I have sometimes said “Contempt by Godard,” also in the Criterion Collection, and sometimes I’ve said “The Rules of the Game (La règle du jeu) by Jean Renoir.” There are a couple of more recent films that seem to sometimes be my answer to that question, but those two have stayed on my “perhaps my very favorite” list for a long time. I first saw The Rules of the Game around fifty years ago, and I saw it again quite recently. Apparently I’m the same person I used to be, because I still felt that everything in the world is in that film, and I’m inside of it myself somehow. By the way, another French film that made an enormous impression on me was À nos amours by Maurice Pialat."

"The first movie I ever saw in my life, interestingly enough, was The Gods Must Be Crazy. It was a South African movie. It’s ironic that years later, the next most commercially successful film from South Africa after The Gods Must Be Crazy is District 9. The effect was kind of an early imprint that South Africa belonged in motion pictures. Because there was nothing else for years, as I became an adult — or even a young man — I kind of realized it didn’t. Everything that South Africa made was terrible that I subsequently saw. Usually I was just ashamed of it. I was like, “Oh God, we make terrible television, we make terrible movies.” And even with Marius Weyers doing the South African accent — something that was uniquely South African and African could be commercial was just imprinted in my brain."

"This is the easily the best album of the last 10 years. I saw him recently, in London with Hot Chip, and it was absolutely fucking brilliant. James Murphy can do no wrong, and being an unlikely front man shouldn’t be any reason to stop you from being one. He just makes me think "I wish I’d thought of that. I wish I’d written that song." It can be hard to mix dance and alternative rock, but he does it brilliantly. I see a connection between what we did as New Order and what he does. The sad thing is, we were playing a tour in France with New Order and LCD were there, and they were all there on laptops. I saw them and thought, 'Should I go over and say I think you’re fucking brilliant?' And I decided: no."

"Another movie my dad took me to see. Why? I don’t remember him asking me if I wanted to go to the movies, necessarily, nor if he explained what we were going to see, and I’m sure I don’t remember him talking to me after the fact about what we had seen. I went because it was my dad + the movies. How did he choose? ’Round Midnight, Pumping Iron . . . Walkabout. I remember seeing Walkabout (I was very young, a preteen), and for a long time I remembered much about it. When I saw it as an adult I saw so much that I had not remembered but must still have been there inside of me. Scary. And great, I guess? Walkabout helped begin an awareness of significant otherliness, and maybe helped reinforce the idea that otherliness is not really sanctioned."