"It’s interesting to me that at a time when so many American bands and acts were getting into the pop thing, across the pond you had all of these great British musicians studying the blues. What Peter Green’s version of Fleetwood Mac did with the blues was not only authentic, it was positively enchanting. They figured out a way to have a good time, but they had their own unique sound and approach. In many ways, they cast a spell on you. They transported you to wherever they wanted to take you. That’s the mark of a great band, but as blues artists, that’s the mark of musicians who have really gotten inside each note. There have been a host of fabulous players who have called Fleetwood Mac their home, but this lineup is one to be reckoned with, and Mr Wonderful just might be their finest hour."

"Let me say Crazy Heart, because it’s in my head. It’s prompted where my life is going now, because with Crazy Heart, it really fired up all my music. I’ve been doing music since I was a teenager; I put out an album a few years ago and built a label with Michael McDonald and Chris Pelonis. With Crazy Heart, I got to play with my two dear friends, Stephen Bruden and T-Bone Burnett, who I met on Heaven’s Gate, thirty years ago or something like that. With this music that was stirred up with Crazy Heart, now I want to continue doing that. So I’m going to take the rest of the year and get into my music; I’ve formed a little band up in Santa Barbara, where we’ve been playing some local gigs and we’re going to go out and play some more. That’s going to be fun."

"The first film I saw by Dumont was L’humanité. I saw it immediately after I made Japón and it made such an impression on me. At that point, Dumont was doing something absolutely perfect: when he was shooting and creating sequences, he was taking presence into the camera and building with it. In L’humanité and La vie de Jesus, it’s striking how he used sound in such a direct way, to the point where he kept the sound of each shot distinct from its counter shot, even though they are part of the same sequence. You can also feel that he was shooting in the place he was born and raised. The things the characters say, the pauses they take when they talk, the perfect choice of words—all of that just shows he’s someone who is very aware of what he experiences in life."

"The first film I saw by Dumont was L’humanité. I saw it immediately after I made Japón and it made such an impression on me. At that point, Dumont was doing something absolutely perfect: when he was shooting and creating sequences, he was taking presence into the camera and building with it. In L’humanité and La vie de Jesus, it’s striking how he used sound in such a direct way, to the point where he kept the sound of each shot distinct from its counter shot, even though they are part of the same sequence. You can also feel that he was shooting in the place he was born and raised. The things the characters say, the pauses they take when they talk, the perfect choice of words—all of that just shows he’s someone who is very aware of what he experiences in life."