"This one really shook up the filmmakers of my generation before we started making our own films. The late comedian Bert Lahr told me that, when he was in the first production of Beckett’s Waiting for Godot in 1956, “I did that damn play for ten weeks, and I never understood a word of it.” I’ve seen Marienbad at least twenty times over the past fifty years, and I don’t understand one scene of it, but what a fantastic experience. I don’t 
understand the Grand Canyon or Schoenberg’s Transfigured Night, either, but they continue to move me. Marienbad is that rare film that changes the possibilities of narrative in cinema. I no longer try to “figure it out”; I just let it take me. The soundtrack can get on my nerves, but the film itself is visual music."

"This is from a Brian De Palma movie. It’s a pretty scary film, and the soundtrack… ok if you want to freak yourself out, turn out all the lights and sit in the middle of the room and listen to this. You won’t last a minute. When I’m first thinking about a movie I’ll start looking for songs that reflect the personality of the movie, I’ll start looking for songs which can reflect the personality of the movie. The record I think most about is the one which plays during the opening credits, because that’s the one which sets the tone of the movie. Like in Reservoir Dogs, when you see the guys all walking out of the diner, and that bass line from ‘Little Green Bag’ kicks in – you just know there’s gonna be trouble."

"My friend Al played it to me when we were living together. It's a box set of all four of his releases at that time. It's super bleak and I don't know what it says about my mental state then, but for a long time it was the record I would fall asleep to, particularly on tour. There's something microscopic about the sound, but it's like a musical optical illusion - it can sound vast and oceanic or it can sound quite narrow. He's done something fascinating with the sonics so that it works on two dimensions. It's also just heartbreaking - there's one piece called 'Orgone Donor' with musical saw and violin over granular drones; a matt finish with these aching, twisted sliding harmonies. Like the soundtrack to the end of days. As though you're sliding into a black hole."